Dendy Jarrett

Expert Review: Little Booty Shakers — Make Your Snare Basket Come Alive by Dendy Jarrett INTRODUCTION When I reviewed Booty Shakers … I stated: “Trust me, a name you don’t want to Google at work or with kids around. But a clever name nonetheless. So I assure you this product isn’t the first thing that probably pops into your mind.” So, yes, I can assure you that Little Booty Shakers isn’t Honey Boo-Boo twerking either! Little Booty Shaker grew out of the development and success of the Booty Shaker product. The goal with the Little Booty Shakers is the same as that of the Booty Shaker: these little foam wonders allow you to uncover your tone. WHAT THEY DO Little Booty Shakers are die cut foam pieces wrapped with a Velcro strap. They are mounted on the “ears” of a snare basket for your bottom snare rim to rest on. Think for a moment about restricting a sonic wave. If you rest a snare drum or snare basket-mounted tom in a snare basket and it is a rigid mount, you are choking the sound of the drum. A good example would be placing a finger on a guitar string when you strum the guitar versus letting it open ring. Strike your snare drum as it rests in a snare basket and then pick it up and strike it with a stick while suspending it with the other hand. You’ll hear the difference, no doubt. These little studio foam “ears” really do make a huge difference. PERSONAL EXPERIENCE There have been all kinds of inventions from manufacturers to try to open the sound of drums. Little Booty Shakers work and they are simple, lightweight, and inexpensive and can be easily used on the go. Some manufacturers recently introduced snare baskets that have this same sort of “idea” built into their snare stands right out of the box. But let’s face it: the majority of us already have all the snare stands we need, so these Little Booty Shakers allow us to utilize any and all of our snare stands with the same resounding results. I used a set on my snare and the results are tremendous. I will caution that the benefits are difficult to hear when you are sitting behind your kit. You need to have someone play the snare while you walk out front. The good news is that while allowing the drum to breathe, the Little Booty Shaker didn’t make it feel unstable or wobbly in any way. The foam is soft enough to allow the great tone of the drum but stiff enough so that the drum doesn’t seem unstable. MADE IN THE USA Like the Booty Shakers, the Little Booty Shakers are made in the USA. This would be such an easy thing to produce off-shore and would allow for a better profit margin for TnR Products (the manufacturing company), but they make them in the US. Rich explained the importance of keeping this product made in the USA: “There is no reason to ship this product overseas. We have people who are eager who need work here.” This was a real plus with this product for me. CONCLUSION Sometimes the solution is in the little details. When it comes to drums, we as drummers are in a constant battle to improve our sound. These little simple products from TnR will make a difference and are an affordable way to help you, as a drummer, uncover your tone. RESOURCES WEB: Little Booty Shakers Website VIDEOS: Rich Redmond (Jason Aldean): Jim Riley (Rascal Flatts): Daniel Glass (Brian Setzer and Royal Crown Revue): PURCHASE LITTLE BOOTY SHAKERS: MSRP: $25.00 (set of three feet) Street: $19.99 Buy Little Booty Shakers At Musician's Friend 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.

Technique: The Musical Drummer — Drumming for the Music by Dendy Jarrett INTRODUCTION There is a well-known drummer in Nashville whose license tag reads “2 and 4.” When I first moved to Nashville, I had a chance to ask him the meaning of his custom plates. He replied: “2 and 4 is what pays the bills.” He continued, “It doesn’t matter how well you play drums in Nashville; what matters is how well your drumming fits the music.” In Nashville it’s all about the song, but let’s face it — no matter where you live, when you are drumming, it should be all about the music. So, how do you train your ear to play the drums for the music? FUNDAMENTALS These fundamentals will serve you well: Attitude — You were endowed with two ears and one mouth, and they should be used in that proportion. Make sure you use your ears in communicating with bandmates, because better communication equals better attitude. Having a good attitude will not only help you get and keep the gig, but also help you “hear” the music better. Listening — Again … two ears! Know the music, but even if you don’t and are winging it, simply listening can help you find your way. Focus — Take the focus off of yourself. Drums and the drummer can make a song or totally break it. You’re there to enhance the music and complement it, as well as establish the tempo and the groove. Feel — It’s important to represent the feel in the style that you play. As you make sure the style matches the feel of the song, it’s also important that you “feel” the song. If you get into the song, your drumming will more likely have feeling. Less is More — Most of the time this is the rule rather than the exception to the rule. Too many notes can spoil the song just like too many cooks can spoil the broth. The exception to this is if you are a drummer of Buddy Rich’s caliber, then folks have only come to see you play. Dynamics — They make all the difference in the world. Pay attention to the musical director. If the MD says bring it down … then bring it down. Make sure your dynamics are on par with the rest of the players. Silence — A wise instructor once explained to me that the “rests” in music are equally, if not more, important than the notes in the music. In many cases, the silence in the music can set the tone or the mood of the song. It can also bring listeners to the edge of their seats. Respect the rests! Keep It Simple — 2 and 4, baby! Most of the time 2 and 4 is all it takes. Some additional opinions: Diversity — Don’t get locked into one style of music. Listen to and try to appreciate many genres of music. It’ll serve you well. Drinking and Drumming — Don’t do it. Save the drinking and partying until after the gig is done. APPLICATION Applying these fundamentals can take years to develop. Sometimes as play, you must remind yourself over and over as you play to apply them. I try to know the song as well as I can, but, more importantly, I try to feel the music. Constantly listening and watching the other musicians is crucial. It can be too easy to get lost in the song and lose sight of the music. Paying attention and being aware are core components of focusing. Musical drummers can show up to a gig and play it well, even if they were called at the last minute because they've learned to pay attention, focus, and listen. CONCLUSION I once knew a professional drummer who did a clinic tour. This guy could play! He had wicked chops, killer technique, speed for days, and a stamina that wouldn’t quit. He would wow people in clinics. Then one night I went to a performance; it was the first time I had seen him perform with a band. I couldn’t believe what I was witnessing — it was as if he had never played drums before. It was really embarrassing. The band members kept looking at each other. It was a nightmare, and a real eye-opening experience for me. I realized that night that you don’t have to be a smokin’ hot drummer to get the gigs. If you have a great attitude, listen, focus, feel the music, don’t overplay, use dynamics, acknowledge the silence, keep it simple, and drum for the music, you’ll develop into a musical drummer. Remember this and you’ll get the gig! RESOURCES VIDEO: Musical Drummer Tom Hambridge with Delbert McClinton and Gary Nicholson: Technical and Musical Drummer Vinnie Colaiuta shows his musical side as he plays for Faith Hill as she sings this Jeffery Steele penned hit, When The Lights Go Down: Abe Laboriel Jr. proves you can be a showman drummer while remaining a musical drummer at the same time as he performs with Paul McCartney on Maybe I’m Amazed: TO DISCUSS DRUMS & PERCUSSION: Harmony Central Drum Forum 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.

NATAL DRUMS — MAPLE SERIES DRUMSET By Dendy Jarrett INTRODUCTION UK-based Natal drums was founded in the late 1950s in the UK by a distinguished British percussionist Alan Sharp, who couldn’t find percussion items that suited him. Alan produced an Afro-Cuban bongo that was of such high quality and sound, that orders started pouring in. In 1965, he developed the first fiberglass conga ever and officially started Natal Percussion Company. Through the years, Natal became a fairly well-known European percussion supplier/manufacturer that focused strictly on percussion. According to the company, “Based in Swinging London, Natal enjoyed huge success, especially with its revolutionary fiberglass congas, which found favor with the likes of Santana, T. Rex, Led Zeppelin, Fleetwood Mac, Deep Purple, and the Rolling Stones.” Enter Marshall Amplification. Most people don’t realize that the “Father of Loud,” Jim Marshall, was originally a drummer. Turns out he had a knack for “tweaking” guitar amps and one of those “tweaked” amps fell into the hands of Jimi Hendrix. Thus was born Marshall Amps. True to his British drumming roots, Jim Marshall decided in 2010 that he wanted to add a drum company to the mix. Natal was ripe for expanding from percussion into drums and followed a similar heritage to that of Marshall. The company was purchased and Natal drums were built all new from the ground up. Brian Tichy endorses Natal MARSHALL & NATAL If any company was going to take on drums, Marshall seemed like an ideal “fit.” There are few other names than Marshall that are synonymous with rock and roll. And quality is paramount with them, so I was glad to discover the stave snare drums are being built in the UK and the drum kits are being made in Taiwan (the quality standards in Taiwan are generally higher than those for MI products produced in China). Furthermore, Natal has an onsite UK presence in Taiwan to maintain quality control. Natal Maple Series Drum Sets on Display at Winter NAMM MAPLE SERIES DRUM SET The very first attribute that will stand out with Natal's drum sets is quality. The painted finish is flawless — I was so impressed with the finish, I now own a kit. Natal has 17 high-gloss lacquer finishes and sparkle (painted) finishes. The kit I reviewed is a Black Metallic, which is a rich tuxedo black with a fine silver flake in it. While I love this finish, as well as all the finishes I have seen at the trade shows, one of my favorites is the copper sparkle. It's darker than most copper sparkles from other companies … sort of like a root beer copper. In fact their sparkle finishes are so flawless, I have overheard observers at the NAMM show argue that it must be a wrapped finish. Famed UK drummer/percussionist, Charlie Morgan, after endorsing a different drum company for 30 years, now endorses Natal and owns a red sparkle set of the maple series drums. The quality of the product is what sold him. Natal Artist Charlie Morgan The chrome work is impeccable. Other than the 2.3mm hoops on the toms, no other components are “off the shelf” from Taiwan. Everything is proprietary and well designed. The lugs sport the Natal distinctive “sun crest” and are round on the outer portion but oblong where they connect to the shell. The badges are die-cast and have a wood type identifier on the bass drum. The all-maple, 7-ply shell has a 45-degree bearing edge on the drum’s edge. This specific bearing edge is one reason I really liked the sound. It reminds me of drums from a more classic era (50s or 60s) with a great attack but also a warm, meaty tone. None of the maple series bass drums from Natal sports a bass drum mount on the shell; Natal has an ingenious single tom arm that mounts to any existing hardware. The tom arm is like an old-school ball mount from the 60s or 70s; however, instead of the balls being made from neoprene, they're made from bead-blasted aluminium. Brilliant! (Why didn’t someone do this before?) Natal Single Tom Mount The tom arm mounts to the tom via the Natal Resonance Mount (NRM). This design, exclusive to Natal, is a well-engineered system that can also be removed easily it you prefer to mount a tom in a snare basket. This resonance mounting system lets the toms really sing. The kit I reviewed had a 20X18 inch bass drum and was a cannon. It also had their fusion sizes, including a 10X8” mounted tom, a 14X12, and a 16X14 floor toms. I really liked the sizes for my playing style and for the genre of music I primarily play. The kit also featured a 14X5.5 snare drum that was "cracka-lackin" good. It incorporates Natal’s unique 3-way throw-off which is yet another well-executed item propriety to Natal. Natal 3-way throw off I have also had a chance to play one of their “Rock” series kits, which offers unbelievable sounding 22X18, 12X10, 13X11 mounted toms and a 16X16 floor tom. That was the copper sparkle kit I mentioned previously. You've probably seen this very popular video on Facebook. It uses a Natal Maple Series to show different sounds in different environments. Video with Julian Audigier, via the wikidrummer: The tone of these drums is just plain full and rich. On both these kits, I could not find a flaw in the quality or sound. CONCLUSION It's difficult sometimes when a “new” company (even if Natal is a half century old) shows up on the scene. You feel like you are taking a risk buying something that you haven’t heard much about, but in this case, you can lean on the parent company’s name and reputation —just mention "Marshall" to any guitar player. This kit exceeded all of my expectations. I think you’ll be hearing a lot more about Natal's drums in the future. Author Playing Natal During Writer Showcase RESOURCES WEB: Natal Drums Official Website Natal Drums Maple Series Natal Artists Page Natal Single Tom Mount VIDEO: Harmony Central Covers Natal at NAMM 2014: MAPLE SERIES: Part 1: Natal Resonance Mount (N.R.M.): Part 2: Natal Tri-Throw Snare & Pro Series Snare Stand Overview: Part 3: Natal Pro Series Pedals: Part 4: Natal Pro Series Hardware Overview: Natal Drums - Artist Swiss Chris To Purchase Natal Maple Series DrumSets: Musician's Friend Natal Maple Series To Discuss Natal Maple Series and other drum related items: Harmony Central Drum Forum 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 Singing Drummer — How to Sing while Drumming by Dendy Jarrett INTRODUCTION A recent thread in the Harmony Central Drum Forum asked about singing while drumming. There was some good discussion on the subject, and I thought it deserved an article. First things first — you need to be able to sing. If you can’t sing, don’t sing and drum. And if you think you can sing and you really can’t, face that truth. There are two types of singing drummers: one who can sing lead and one who can sing backup (harmonies). Either way, a drummer who can sing and play will traditionally be in higher demand than one who can't, unless you are a really fantastic player or in an instrumental-only band. FUNDAMENTALS For some, drumming and singing is a natural combination. For others, drumming and singing is possible but doesn’t come as easily. Many drummers (especially if you are a schooled drummer), studied Jim Chapin’s Advanced Techniques for the Modern Drummer, which is a study of coordinated independence. While the focuses on jazz and be-bop, the techniques apply to any current playing style. Interestingly, these same techniques that teach independence of your limbs (arms, hands, and feet) also works wonders for singing and drumming. While playing, you simply introduce words to the notes (like a fifth part with which to sing along) as you play the ride, hi-hat, snare and bass drum. Working out these fundamentals will help you overcome difficult vocals over which you might otherwise “stumble." KNOWING WHEN “YOU GOT IT” In most cases, you’ll know if you are cut out for singing lead (and if not, your audience may give you some hints). There have been some great singing drummers, like Don Henley (The Eagles), Dave Grohl (Foo Fighters, Nirvana, Them Crooked Vultures, Probot, and Queens of the Stone Age), Levon Helm (The Band), Ringo Starr (The Beatles, Ringo & His All-Starr Band), Karen Carpenter (The Carpenters), Sheila E. (Prince, and more), Phil Collins (Genesis, Phil Collins), Nigel Olsson (Elton John), and many more. One of my favorite contemporary singing drummers is Abe Laboriel Jr. (Paul McCartney and Mylene Farmer). All of these drummers made big names for themselves not only as great drummers but also as successful vocalists. These drummers “got it” when it came to playing and singing. As Abe Laboriel states: “It’s definitely a fifth limb … You have to think about breathing and pacing yourself.” You’ll most likely discover quickly whether or not you have the knack for singing and playing. Also, factor in nerves. It’s one thing to sing with “the guys” in the band, but getting in front of an audience can be completely different. Stage fright is a very real phenomenon and sadly, it can be crippling to some people. Know your limitations and fight through them if you can — I speak from experience as it took me a long time to overcome stage fright when singing (ironically, I didn't have that problem when drumming). ONCE YOU’VE “GOT IT” After you decide you’ve “got it,” you’ll have to determine the songs and parts where you excel. This is usually a coordinated effort between bandmates or handled by the Musical Director (MD). You’ll also have to choose a mic setup; following are three different approaches. · Headset mic: This can work well, especially if you’re an “active” drummer (have a lot of movement when you play). However, they have limitations. You lose the ability to play the microphone, and move closer or further away to accommodate dynamics. Headset mics sometimes pick up breathing, and they often can (and do!) shift when you’re playing. It can become a battle with the headset. · Boom stand from the side or rear: This is a more common approach. It lets you swing the mic out of the way when you’re not singing,which provides a more liberating playing field. · Straight stand beside your drum throne: If you typically sing only backup vocals, this is a quick and easy setup—simply turn and sing. CONCLUSION A singing drummer can be in high demand! Singing and drumming can also be a great compromise if you love drumming and you also love singing. And even if it takes a little work to master both, the personal satisfaction is rewarding. So don’t be afraid to sing out — it can take your performance to an entirely new and enjoyable level. RESOURCES VIDEO: Abe Laboriel and Mylene Farmer: Modern Drummer Video Interview with Abe Laboriel about singing while drumming: Abe Laboriel sings Sgt. Peppers Lonely Heartsclub Band: Don Henley Sings Hotel California: TO PURCHASE Jim Chapin’s Advanced Techniques for the Modern Drummer: Buy The Jim Chapin Independence Book from Musician's Friend TO PURCHASE GREAT VOCAL MICROPHONES: Buy Vocal Microphones from Musician's Friend TO DISCUSS DRUMS & PERCUSSION: Harmony Central Drum Forum 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.

Booty Shakers — Make Your Floor Toms Come Alive by Dendy Jarrett INTRODUCTION Booty Shakers … trust me, a name you don’t want to Google at work or with kids around. But it's a clever name nonetheless, even though I'm sure this product isn’t the first thing that probably pops into your mind. To get some background, I reached out to company owner Rich Wiley. Ironically, Rich is a guitarist. A few years ago his drummer friend, Toby Ahrens (and now TnR co-owner) came to a studio session with a floor tom that sounded tremendous when held off the floor, but, when placed on the floor, sounded awful. Rich and Toby took some studio recording foam and cut three squares, then set the floor tom legs on the foam. That solved the problem and set the wheels in motion. Other drummers could hear the difference at sessions and gigs and wanted Rich and Toby to make them some. Ironically, he was going to call them Shaker Booties (like baby booties), but Toby's wife suggested the name Booty Shakers. Seemed she understood marketing because, you have to admit, the name grabs your attention. WHAT THEY DO Booty Shakers are die-cut (nicely done I might add), foam discs with a studio-type open-cell foam top and a neoprene closed-cell foam bottom. They're roughly 3 inches in diameter and 2.5 inches tall. A hole in the middle with size-slit cuts allows for various sized floor tom feet. You place the foam discs on the bottom of your floor tom legs which isolates the floor tom from the solid floor (the floor tom leg's foot is nested in the upper foam where it sits on the closed foam bottom). The isolation allows the drum to "breathe" and opens up the drum's fundamental lows. Having the drum sit directly on the floor “chokes” the sound of the drum's, so placing the legs on Booty Shakers improves the drum's tone significantly, as well as extends the drum's decay time so it "rings out" better. PERSONAL EXPERIENCE If you are a drummer from my era, you know that at one time all drums (except snares) were mounted in a “fixed” manner that made contact with the shell. All of your “mounted” toms were mounted on rails or stands supported directly by mounts on the drums, hence the name “mounted toms.” I first experienced an isolation mount in the mid-1980’s, and could really hear the difference in the tom-tom’s sound. Since that time, manufacturers have designed all kinds of inventions to try to open the sound of drums. However, unlike some of them that are difficult to use, bulky, and limiting, the big benefits of the Booty Shakers are not only that they work extremely well, they're also easy, lightweight, and inexpensive. Additionally, although they're labeled with a striking red band, you can remove it easily if you prefer a more discreet look. MADE IN THE USA It's important not to overlook this significant factor. Items in the accessory category, especially at this price point, are almost always outsourced to an off-shore manufacturer. Rich explained the importance of making this product in the USA: “There is no reason to manufacture this product overseas. We have people here who are eager to work and need the jobs.” To me, this was a real plus. It's been my experience that products made in the U.S.A. are often of higher quality and last longer. CONCLUSION At first glance, this might seem like “snake-oil”— but hearing is believing. Some products require that you really lean in and “convince” yourself that you hear a difference, but with the Booty Shaker, the difference is so obvious that no “convincing” is necessary. Give them a try, and you too can make your floor toms come alive! RESOURCES WEB: tnrproducts-booty shakers website VIDEOS: Rich Redmond (Jason Aldean): Jim Riley (Rascal Flatts): Daniel Glass (Brian Setzer and Royal Crown Revue): PURCHASE BOOTY SHAKERS: MSRP: $40.00 (set of three feet) Street: $29.99 Buy Booty Shakers TO DISCUSS DRUMS AND PERCUSSION: Harmony Central Drum & Percussion Forum 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

Make a List - Don't Forget by Dendy Jarrett Introduction A friend who's a professional drummer posted on Facebook late one evening that he had arrived at his gig in New York City and forgotten his stick bag. He called out to his friends to see if he might borrow some sticks for the gig. That was when it hit me: this can happen to the best of us. It took me back to 1983 when I marched with Suncoast Sound (a Top-12 DCI drum corps “back in the day”) and we had our first show at a local contest. As we pulled away on the bus, I suddenly realized my stick bag was in my truck. Yikes! The instructor did something that seemed highly cruel but turned out to be a well-learned life lesson — he refused to let anyone else in the drum line let me borrow sticks. I would be forced to forage for my own sticks from one of the high school bands or “air” the part. You can bet this: I never forgot my sticks ever again … thanks, Al! What To Do There are plenty of mottos that everyone's familiar with: The Boy Scouts: Be prepared; American Express: Don’t leave home without it; Santa Claus: Make a list and check it twice! All really applicable in this situation! So, how much thought and effort do you put into your gig preparation? Do you take a mental inventory or do you need paper (or these days smart phone) lists to keep you on track? When I was growing up, I was a Boy Scout, so I try to “be prepared” when I prep. What Works For Me I decided long ago to carry two different allotments of emergency gear with me. One bag has all of the “may need” stuff, and a very large “stick pocket” on the side of my cymbal bag contains my “will need” stuff. There are a few crucial items that, should they fail, I would be “dead in the water” without. I always have those items in the cargo area of my truck “just in case.” MY LIST BREAKDOWN: The stick bag: “Don’t leave home without it” I keep all my gig sticks, brushes, rods, and mallets. Spare sticks (just in case) go in the will need bag below. The may need bag: · Screwdriver(s) · Spare tension rods · Gaffer’s tape (I prefer Gorilla Brand gaffer’s tape in black) · Wrench set · Allen- wrenches · Heavy duty different style drum keys · Spare drum pedal · Spare drum pedal hinge · Spare bass drum beater(s) · First aid kit (small) · Snare basket top · Spare impact patches for the bass drum · Batteries · Spare floor tom leg · Spare snare wires · Spool of light wire · Spool of white 3M marking tape · Sharpie(s) · Spare towel · Work gloves · Spare snare head · Super Glue The will need Bag: · Drum Key (X3) · 2 sets of batteries (AA, AAA) · Cymbal felts · Cymbal stand cup · Spare hihat clutch · 1 spare BD Bbeater · Sharpie · Pencil(s) · Multi Tool (I use a Gerber Multi Tool) · Spare iPhone charger and cable (for both iPhone and iPad Mini) · Back up battery for both the iPhone and iPad Mini – just in case · Spare button top (I use button tops instead of wing nuts on my cymbal stands) · Towel · Spare sticks and mallets · Various drum mute products: moon gels, “o” rings, and the like The spares - just in case gear: For a high exposure gig or tour, I’ll always carry these items. If a local show, I'll have them in the truck's cargo area: · Spare snare drum · Spare hi hat stand · Spare kick pedal · Spare set of Heads · Drum Rug (rolled up … just in case) Don’t Forget If this seems like a lot of stuff to schlep, experience has taught me that Mr. Murphy rides along on most gigs. And I live by the notion: “ When you least expect it … expect it.” You have to carry what makes you feel comfortable. Carry a drum rug? What if you get to the gig and it's a hardwood floor? There's nothing more miserable than trying to play one-handed while using your other hand to reposition your bass drum and high hat as they slide all over! It’s hard to play if you forget your throne. I played in a folding chair once... no fun. When you're well-prepared for the downbeat and everything is where it needs to be, you’ll have peace of mind. You won’t find yourself sending an urgent Facebook call to your local drummer friends asking for sticks.So, be prepared. Don’t leave home without it! Make a list and check it twice! Be Prepared For Any Size Gig! Resources: To Purchase or consider drum accessories – Go Here: Musician's Friend Drum Accessory Page To Talk About Drums and Drumming – Go Here: Harmony Central Drum 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.

Sabian — Stick Flip The Stick Bag That Stands by Dendy Jarrett INTRODUCTION Stick Bags — they can become a part of a drummer’s identity. I have drummer friends who have had the same old worn out leather stick bag since college, and they are mostly in their 50’s now! Some drummers get steeped in their groove and never really change, but others are always looking for something that will improve their ability to play better or make their performing a less-complicated task. I fall into both categories! There is some gear that I just cannot let go and other pieces of gear that I am always looking to improve. Enter the Stick Flip. A STAND UP IDEA It is said that “necessity is the mother of invention.” I suppose that it must be true because I’m one of those drummers who is a tinkerer. I always am looking for an innovative way to better my set up, sound, and playing. Whoever came up with the Stick Flip for Sabian must be of the same ilk! When the package arrived from Sabian, it was oddly flat. It was literally about the thickness of an iPad — flat! My initial reaction was, “Hey, something must be missing here!” The packaging is minimal but totally adequate with an enclosed instruction card that visually explains how to use the bag. HOW DOES IT WORK The typical drummer uses a stick bag that is akin to a European “man bag.” Upon setting up, we will hook the bag to the floor tom leg tension rods. This never really has worked well for me because of either having the bag over-stuffed (my fault) or because of the handle causing the bag to not lie flat or stable (poor manufacturers’ design). While the Stick Flip arrived flat, a quick flip of the bag yielded a clever stick bag that sits on the floor either by the floor tom or anywhere you like, for that matter. When you flip the bag it open, there are magnets inside the top that, once opened, form a rigid back that holds the bag open with all your sticks present like soldiers at the ready. WHAT’S IT LIKE The outside of the bag is made of a ballistic nylon material. It is a basic black, and the inside of the bag (when opened and standing) has a striking red back and a grey interior with a white stripe where the sticks are held (which helps you see the area where the sticks insert when the lights are dim). The bag has a great heavy-duty zipper that closes it, and the interior has two mesh zippered pockets for storing things like drum keys, ear plugs, or even your smart phone or click device. Additionally, it has a shoulder strap tucked away on the inside in case you wish to use it. It also has substantial, but non-obtrusive handles for carrying. The outside, when closed, has a round Sabian logo stitched on it, and the red side that faces away from you when it is open has the Sabian Crest stitched on it. The bag is really very high quality. CONCLUSION I love this bag. I found having the sticks in the standing position made them so much more accessible. The “platform” is stable and helps make it a quick grab when you need a stick. If there were one wish, it would be that it held more sticks. I found that I was able to get about 12 sticks per side; but, if I wanted to add mallets, rods or brushes, it reduces the overall number of items it will carry. (Maybe Sabian will come out with a larger version for percussionist! — hey Sabian!) That said, I would probably carry a much larger bag for hauling the vast array of items I may or may not use and carry the necessary crucial sticks for a specific gig in this bag. A huge benefit: not having a stick bag hanging from my floor tom really opened up the tone of the drum. The bottom line is that the simplistic ease of use and the fact that it stands like a quiver at the ready makes this my new favorite stick bag. Get the Stick Flip and I think you too will flip over it! RESOURCES Web: See The Stick Flip At Sabian.com Videos: Sabian: Harmony Central: To Purchase The Stick Flip: See the Stick Flip at Musicians Friend 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

This is the first installment in an ongoing series at Harmony Central about musical instrument companies that promote good environmental practices. ProMark by D’addario Play. Plant. Preserve. In the mail this past week I got a copy of one of my favorite drum periodicals. While I was doing my initial scan, a non-traditional advertisement caught my eye and stuck with me. I had to hop online and do some more research. The ad was for ProMark’s Play. Plant. Preserve. initiative, and featured Tennessee log-harvester, Justin Coble, standing in a Tennessee privately-managed forest with his chainsaw at the ready. This ad really spoke to me from a multitude of perspectives: · I’m a drummer who is conscious about the environment. · I am a dad who cares about the Earth that I leave behind for my children. · I am an avid outdoorsman and love over-landing and seeing remote places. Deforestation is important to me from that standpoint. · I live in Tennessee. The fact that ProMark harvests their wood from Tennessee and that this project helps Tennessee was also important to me. So what is Play. Plant. Preserve.? In simple terms, it is a tree-planting, cost-share program aimed at ensuring that the hardwood resources used for making drumsticks and mallets in the company’s Tennessee sawmill remains sustainable. How does it work? The program is funded by ProMark and is administered by the Tennessee Department of Agriculture, Division of Forestry (TDF). The goal of the program is to provide an avenue for the planting of five trees for every one that ProMark uses on an annual basis. (The program also has an alternative marketing name: 5 for 1.) In this program seedlings used are grown at TDF’s East Tennessee Nursery located in Delano, Tennessee and are provided at no cost to eligible Tennessee landowners. “The Play. Plant. Preserve. Tree Planting Cost Share program directly connects with D’Addario’s existing efforts to sustain our planet,” says Robert Caniglia, Product Specialist at D’Addario. “D’Addario has been making environmentally conscious choices since the early 1990’s, and we are proud to partner with the Tennessee Department of Agriculture on this effort.” In layman’s terms, this means ProMark will plant five trees for every one tree they harvest each year. They understand that the demand for wood has skyrocketed and that protecting our forests ensures a managed, renewable future for their raw materials. And by obtaining their raw material only from these managed forests, they're ensuring that they're never using wood that was poached or obtained illegally. These types of forestry programs fall under the Tennessee Agricultural Enhancement Program (TAEP) and were developed to promote long-term investments in Tennessee’s forests by providing cost share incentives to qualifying producers. The programs help promote sustainable forest management practices on nonindustrial private forest land, which provide multiple resource benefits such as timber, wildlife habitat, clean water and stable soil conditions. Jim D’Addario states: “D’Addario is committed to being environmentally responsible and strives to inspire this sentiment in musicians worldwide … from the ground up.” Because of the natural resources used to make much of the gear we use, it's up to all musicians to support sustainable practices. Thankfully, many manufacturers feel the same, and more and more so-called "green" methods are being used across the industry. As we continue the Green Gear series, we'll take a closer look at who's doing what, so you can make an informed decison when you buy if sustainability is high on your list of importance. RESOURCES: Videos: ProMark: Play. Plant. Preserve. ProMark by D’Addario: To Purchase ProMark Sticks: http://www.musiciansfriend.com/search?sB=r&Ntt=promark 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.

Pearl ePro Live Acoustic-Electric Drums Both Worlds = Pleasant Surprises INTRODUCTION My first foray into the use of electronic drums came in the early 1980s when I was touring with a major act. I was “forced” to use an electronic kit in the latter part of the tour in order to cut down on stage volume. Perhaps my skepticism stems from that experience, but in the early days of electronic drums, the technology was far from perfect. I have often referred to playing electronic drums as “taking a warm shower in a raincoat.” Recently, I was forced to swallow this pill and drive an electronic kit at the church where I am in rotation as a drummer. We have used acoustic drums for years, but sound issues, and bleeding had pushed us to the point that we found it necessary to dial in electric drums. I was looking forward to this like an annual physical. (Caveat emptor - our church plays relatively loud music in the genre of Mavis Staples, Pink Floyd’s “Time”, Love Train by the O’Jays, Delbert McClenton … that sort of thing — not your typical low volume stuff.) For a short while we used the typical 8” round rubber pad type set but then discovered the Pearl ePro Live. GAME CHANGER What sets the Pearl ePro Live apart from other kits? Well, for starters, they are real wooden drum shells. Not only can they be electric but you can also put regular heads on them and play them as regular acoustic drums. That alone makes this a perfect mix in my book, but wait … it uses real drum heads as well. (Well, for the most part- see description below.) When the kit arrives, it is in 4 boxes: 1) All of the shells 2) The rack and hardware 3) Cymbals 4) TruTrack Heads, Module and Cables. It is extremely well packaged with great instructions. Even better, Pearl has videos online (see resources below) that walk you through the set up in layman terms and Pearl’s Gene Okamoto is fantastic on camera at making you feel like “you can do this.” Pearl excels at their instructions in video form. At no time did the technology feel “overwhelming” to me. Having this look like and feel like real drums was a game changer. COMPONENTS SHELLS: The shells are beautiful poplar and are 6-ply. Those that are a wood grain finish are exceptionally beautiful. All of the finishes are beautiful, for that matter. Shells included are the following: • 20 x 12" kick • 10" x 6-1/2", 12" x 7", and 14" x 8" rack toms • 14" x 4-1/2" snare I have seen video footage in which two of these are “married” to include double bass, two of each of the toms mounted in tandem to produce a nine-piece kit. It is quite a treat to watch Dennis Chambers work out on one of these! COLORS: Five finishes are available: • Quilted Maple Fade • Red Glass • Diamond Glitter • Vintage Orange Glass • Vintage Green Glass For our needs, we went with the Diamond Glitter. On stage and under lights, it just worked for us. RACK AND HARDWARE: I’m not much of a “rack guy” either, so I was approaching this with some skepticism. This rack, however, really works well with this kit. It isn’t cumbersome or flimsy in any way. I will point out that we set it up and do not move it often, so I cannot give feedback about setting this up at multiple gigs. The supplied rack is a modified version of Pearl’s Icon Rack. The rest of the hardware is reliable Pearl hardware and covered under their lifetime warranty. The set up of the hardware was straightforward; but, as previously mentioned, the video presentation takes away any guesswork. CYMBALS: The cymbals are offered in real brass cymbals or black a black rubber variation. 
What was included in our kit: • 12" EPC2 crash • 3-zone EPC2 14" ride • Set of EPC2 12" hi-hats The cymbal sounds included with this kit are truly stunning. And the variations are seemingly endless. The response and sensitivity is equally impressive. If there were any drawbacks to this kit, the cymbals would be where I found my personal limitations. I like the brass cymbals better, but, because of the electronic connectors and muting, they had a plastic-like “feel” to them. They are we better than playing on 8” rubber disks by a mile, but wanted to point out my own personal perspective. The other thing that just takes a few sessions of playing is that the hi-hats are fixed. They have a foot pedal that gives you the sound of open and closed hats, but they themselves do not move. You may miss some of the subtle nuances of playing “real” hi-hats. What was positive was the way these respond to your playing. If you hit the bell, you get bell. If you roll with dynamics, you get complete dynamic range. And if you choke them … they choke! The technology is stellar. TRU-TRAC DRUMHEADS: The tru-trac drumheads are “real” drum heads but slightly different from your normal drumhead. They have a raised or elevated part of the head that lies inside the counter hoop. This is what sets them apart from a regular drum head on the snare and tom toms. The bass drum, however, comes with a module that bolts to the drum head (floating and presented to the beater through a precut hole in the regular bass drum drumhead). Playing on these heads was really no different from playing on regular heads when it comes to response. Due to my playing style, the raised element that rises ever so slightly above the counter hoop, kept me from hitting in my normal manner. I come from a drum corps background, so I tend to hit with a “gock” or rim shot approach to playing. I had to adjust my playing to compensate for this head element. Again, just a personal perspective and to the average player may not even be present. The heads have a nice coated texture and could even be used with brushes (and you can dial in a brush kit). Where these heads excel is sensitivity. The dynamic range is off the chain. With a good monitor system, your brain will fool you into believing you are playing the drums and the sounds are coming out of the real drum shells. They offered a pianissimo all the way to a full-bore metal fortissimo. R.E.D. BOX: (the module) No, not the place you pick up and drop off DVD’s at your local convenient store. Rather, this is the control module for this drum set. R.E.D. stands for Real Electronic Drums (clever) and of course … it’s red. The RedBox features 4 total outputs- 2 left and right, and 2 auxillary. There is also a MIDI in and out which also doubles as a MIDI interface. Additionally there is a USB in and out. (the USB is not powered) The Module contains 128 Megabytes of RAM and features 1,000 high definition sounds plus 100 high definition kits and allows for 100 user programmable kits. Pearl also has a dedicated website for redbox owners that allow you to keep track of changes and updates. They also have a partnership with Toontrack, Zildjian and others that allow you to play “virtual” drums and cymbals from their sites. It is a very well thought-out presentation. CABLES: The cables are so straight-forward to understand. Everything is color coded and labeled so there is no guesswork involved. You simply match up the correct cable with the labeled drum and then the other end to the corresponding input to the redbox. Once everything is connected, you are supplied Velcro ties to neatly “hide” the cables from view. It makes for a very clean look. All of the electronic anxiety was removed with this kit. DAILING IT IN Dialing the kit in (so to speak) wasn’t completely without some challenges. You have to adjust the sensitivity so you don’t get mis-triggering and bleeding from drum to drum. That part was easy, so it seemed. We were having issues with hitting the drum and the drum not sounding. It turns out we had a floor wedge that was partially under the floor tom. During performance, certain frequency would cause the snare channel to open and stay open, so when we would hit the snare, there would be no triggered sound. Adjusting the position/location of the wedge and adjusting the sensitivity on the snare cleared the problem — with the help of Pearl’s fantastic and patient support team who helped us determine the specific problem. CONCLUSION Of the choices in this crowded market place, this kit is at the top of the list for me. It strikes a happy balance for me. There are times when I forget I am playing electronic drums. As with any electronic kit, you have to dial them in so that they meet your playing style, but this kit makes that process so easy. Do I still prefer to play on acoustic drums — yes, but in a situation where electronic drums are necessary or preferred, these drums took away the pain because I found balance and pleasant surprises where both worlds of the Pearl ePro Live intersects. RESOURCES: Website: http://pearldrum.com/products/kits/electronic-drumsets/epro-live/ Video: Pearl ePro Demo #1: ) Example of Great Self Help Videos Pearl offers on this ePro Live: ePro Live as Acoustic Only: ) TO PURCHASE: http://www.musiciansfriend.com/drums-percussion/pearl-e-pro-live-electronic-acoustic-drum-set TO DISCUSS DRUMS & PERCUSSION: http://www.harmonycentral.com/t5/Drum-Forum/bd-p/acapella-19 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.

Are they really a revolution? Let's find out by Dendy Jarrett This week I received a box from D’Addario with the Evans Level 360 “Heavy Weight Snare Batter” drumhead and the “EMAD Heavyweight Bass Drum” drumheads. First, we’ll look at the heavy weight snare head to determine if these drumheads live up to their claim of “Technically a drumhead. Technologically a revolution.” We’ll cover the EMAD Bass Drum Head in a later issue. BACKGROUND To understand what sets these heads apart, it's necessary to understand what a bearing edge is and how drumheads have been producedin the past. Bearing Edge: This is the part of a drum shell that makes contact with the drumhead. Typically, bearing edges have a cut edge that can vary depending on manufacturer from 30 to 45, or even 60 degrees, in slope. Typically the high edge is on the shell's outside. Drumhead Construction: Historically, drumheads are produced in a process by which Mylar (or polyester) is stretched and heat-stamped as it's mounted into an aluminum counter-hoop. The counter-hoop is the drumhead's aluminum ring on which the drum hoop applies downward pressure when it's being tightened. In typical drumhead construction, the Mylar coming out of the counter-hoop slopes inward/upward to where the Mylar intersects the bearing edge. OVERVIEW The Level 360 construction technique is different; instead of the Mylar slanting inward and upward, it slopes almost vertically. Here's why this makes a difference. If you set a typical drumhead on a drum, you’ll note it has a wobble. This is because the bearing edge meets the head on the Mylar's inward and upward slope instead of resting on the flat horizontal Mylar drumhead plane. We rely on tightening the drum's hoop against the counter-hoop to produce the tension needed to pull it tight to the horizontal underside of the Mylar. I also noticed that when I placed any other head on the drum, there was enough slack so that pressing my finger on the head above the bearing edge created a dimple. This doesn’t happen with the Level 360 head; you can actually feel the bearing edge through the head immediately, and the bearing edge instantly sits flush on the horizontal Mylar of the drumhead. BENEFITS This instant contact of the bearing edge against the horizontal Mylar plane really makes a noticeable difference. The tuning is much, much easier - the drum head sits completely level from the start, so the drum key turns normally reserved for bringing the head down to the bearing edge instead begin the tuning process. This also results in a wider tuning range, which I noticed this more in the low range than in the high range. Because I'm familiar with the Evans G1, I noticed that in the mid-range tuning the heads are very similar; but with this head, you can get a much lower “phat” tuning as well as a much higher “crack.” This specific head was the model B14HW, a coated head. The coating is excellent and holds up extremely well under a constant beating. This head also sports an impact patch on the underside (often referred to as a dot; although with Evans, it's not a dot per se but a proprietary design). This helps with the head's endurance. It also helps with dampening (just enough, but not too much). It's also important to point out that when I'd finished abusing this head, I removed it to note any abnormalities. This head did not “cup” or “bowl” like other heads I have reviewed. CONCLUSION As drummers, we seem to lock into one brand or another - and when we do, it's hard to accept a change. This head will change your thinking. You’ll suddenly realize that you do have choices, and integrating all of one brand of heads or mixing and matching can make sense. This snare head is one of those that, at the very least, you need to try. The Level 360 heavy weight snare batter head lives up to the marketing hype. You’ll immediately notice that it is indeed a technological breakthrough. RESOURCES Website: http://www.evansdrumheads.com/EvansHome.Page?ActiveID=1194 Video - Evans: Video: Harmony Central: Resources for purchasing this and other D’Addario Evans Products Level 360 Snare Drum Head Level 360 EMAD Heavy Weight Batter Head Evans EQ Bass Drum Muffler Evans EMAD Tom and Snare Dampener Evans Magnetic Drum Key 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.

We've all done it — forgotten our drum thrones and had to sit on folding chairs or non-drum-throne stools. Agonizing! Especially agonizing after the adrenalin rush that comes the moment you realize you forgot your throne! Having this happen can be an eye opener in the importance a proper throne plays in your playing. IT'S JUST A SEAT? Never think that. Outside of drumming, my other passion is Over-landing (taking a built truck off the beaten path and camping remotely). I realized on a long trek the importance the right seat can make in minimizing fatigue. At the end of a 10-hour drive, a great seat can make all the difference in the rest of your trip! Same with drumming! You need a seat that will minimize strain and stress on your legs, back, joints, knees, buttocks, and even your brain. When I first started drumming, the only seat options (for the most part) was a thin seat at the top of a long post that had two shorter legs that folded forward. You were basically sitting atop a pole. Or, you had the option of a case throne (think old school) where the seat was on top of a tubular case for holding hardware. The thought of comfort or longevity of playing was absent in the planning and design of these early thrones. CAREFUL CONSIDERATIONS The options today are plentiful. There are some factors and forethought that you need to weigh before choosing a throne. Weight: And speaking of weight — that would be one of the first things: How much do you weigh? You need to make sure any throne you are considering has a weight capacity that exceeds your weight class. Thrones are generally rated to a weight capacity. Height: How tall are you? It matters! One of the things you have to determine is what the right sitting position is for you. I tend to sit low with my knees slightly (ever so) elevated, but, as I grow older, I have moved up my sitting height slightly to a parallel thigh position because of said age! I learned to sit in that low position watching Chet McCracken and Keith Knudson drum for the Doobie Brothers. And, on the other hand, you have folks like Chester Thompson who plays in an almost standing position on his throne (I exaggerate, but it isn’t far from that). You have to find the right balance for you. You have to determine where comfort, play-ability, and stature intersect. The most important aspect of height is making sure the throne you land on will go low enough or high enough to facilitate the balance you need. Seat: Round seat, cycle seat, square seat, split seat, and the list could go on. You need to determine what works best for you. Most cycle seat models were fashioned after an old Harley Davidson seat, and this works for my liking. Seat testing requires you sit on thrones and even play on them for a while before you can really know if one works for you. You need to determine if they leave you finding it difficult to stand up after sitting and playing. Do they leave you stiff and sore in your joints? Did the seat leave you feeling fresh, or did it numb your backside? How about your thighs? Did they go to sleep and tingle from the shape of the seat, or were you feeling good when you finished playing? Some prefer firmer foam, while others like softer foam. The opinions on seats are about as wide as the numbers of derrieres upon which we sit. All of these things are major factors that need to be considered in choosing the right seat. Base: You’ll have choices: four leg, three leg, flat bottom, double braced, or single. The main determination is what feels stable for you. I’ve had a throne tumble on me more than once, and it isn’t fun. Many of the factors listed above will determine what works best for you, not to mention the portability aspect, which we’ll discuss below. Manual or Automatic: Do you want to manually adjust the height of the throne or have it be automatic (pneumatic)? This comes down to personal choice, ease and comfort. I use a pneumatic throne. I like the soft cushion that the “air ride” gives me. But it adds weight to the throne. Sometimes choice comes down to trade-offs. Back or No Back: Again, this comes down to what serves you best. I play with no back on my throne unless I am playing timpani, and then I prefer a back. Much of this can also be determined by your posture (which I’ll mention below). One of the things you should also determine is this: are you one of those drummers (like me) who “moves” when you play (as in moves to the music or the cadence of the music)? If so, a back is likely to cramp your style. A good option is to purchase a throne that will accept a back which give the option to use it or not. Portability: Size and weight of the throne are factors, as is how compact it will become when it is ready to be transported or stored. For me, I give up portability because the throne that serves me best isn’t very compact. You’ll have to make the same consideration and possible concessions based on your choice. There are some great new throne soft bags that work well with Saddle Thrones for those that choose these larger formats. CONCLUSION — Take A Seat So … don’t let it be a foregone conclusion that all thrones are created equal. They aren’t. In many cases, you get what you pay for. A throne surely should not be an afterthought item in your gear line up. If you want to get the most benefit out of a throne, play with proper posture (we’ll take up proper posture in a future article). The drummer who uses the quintessential posture (in my opinion) is Max Weinberg. You’ll never see him slouching or using improper posture. If you use proper posture, you’ll maximize the benefits of picking the right throne. Pick the right drum throne. After all, we're drummers! Why do you think it's called a throne? RESOURCES: Video of various types of throne seats and colors: Video of Throne Bag: To purchase a throne or make comparisons, go to: http://www.musiciansfriend.com/drum-thrones Dendy Jarrett is the Publisher and Director of Communities for 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.

Dunnett’s E-Drum Key A Dang Sexy Drum Key Oh, The Curves: This key has been around for a little over a year, and it's taken me this long to get my hands on one. As drummers, some of us are just about the playing and couldn’t care less about the gear. Some of us, on the other hand, are just “eat up” with gear and have this insatiable need to see and try new things. I fall in to this latter bucket. I was so very excited to finally get my hands on a Dunnett R Class E Drum Key in Chrome. I hope the title of this review doesn’t offend anyone, but there is simply no better way to describe this drum key. Really! It's just “dang sexy.” It is no secret that many drum companies use different design elements to bring identity to their brand. Some drum companies use straight, hard lines to define who they are, while others use curvy, sensual, feminine lines to call attention to themselves. Ronn Dunnett chose the latter route for many of his R Class products. They are just plain sexy, not only to the eye, but also to the hand. This E-Drum Key in chrome is simply one of those items. Design For Days: This key isn’t your average drum key. The weight of it is a first giveaway. It is substantial. You know when you hold it that you are holding something special. The Handle: The handle is designed to fit the average hand perfectly. It has a gentle slope and on the reverse side and features a concave elliptical groove for your thumb. Because of the shape, it allows you to get significantly more torque or leverage than you would with a standard “T” key design. Because of this gentle slope, your other fingers fall into a nice position. When you are tuning, there is no undue pressure on your hand. There is nothing worse when changing a head than hurting your fingers trying to tune, and having to jump on the kit to play with those aching fingers. The Stem: The stem of this key attaches to the handle with a knurled knob at the top. This is important to note because this knurled knob unscrews and you can take the handle off, flip it, and then have a left-handed drum key. A very cool feature! The “key” slot has an internal magnet, which isn’t uncommon these days, but does come in handy for two reasons. First, it keeps the key from being easily knocked off a tension rod, thus damaging your drum finish as gravity wins. And second, the magnet holds the lanyard on the key. The Lanyard: The version that I have for review is a Dunnett branded version. There is a non-Dunnett-branded version also available. The key I received has a very nicely designed rubber collar attached to the lanyard clip. This rubber collar has the Dunnett logo as a design element on both sides that also serves to assist the magnet in keeping the key affixed to the lanyard mount. A gentle tug removes the key from the lanyard for use. Having the lanyard is quite useful, and, honestly, this key has such a great design that you feel good wearing the thing around your neck. The Dunnett Logo: On one side of the key’s handle is the Dunnett Logo. The logo itself is a sexy design. It evokes an air of class. One would assume because of the great design of this key that it would be an expensive purchase. Surprisingly, this thing only has an MSRP of $22.00. Dang Skippy: Some things in a drummer’s life are utilitarian and serve a purpose, and you couldn’t care less how it appears. Probably for most, a drum key (based originally on the design of a skate key) falls into this classification. But now you have a choice. You can own something that embodies form and function and even would get an award in my book for design. The key I have is the chrome version, but there is also a polycarbonate handle version in a cool clear, black, and I have seen a few other colors floating around on Dunnett’s Facebook page. I hear that the future even holds a USB thumb-drive version. So, in my book, the sensual curve, impeccable chrome, and overall design simply makes this a dang sexy drum key! RESOURCES: www.dunnett.com To Purchase the generic version of this key, go here: http://www.musiciansfriend.com/drums-percussion/gibraltar-r-class-e-drum-key/h96604000001000?source=3WWRWXGP&gclid=CJKz9pT1urwCFcxi7AodIV8AWg&kwid=productads-plaid\%255E58356392307-sku\%255EH96604000001000@ADL4MF-adType\%255EPLA-device\%255Ec-adid\%255E30427793667 To Purchase a Dunnett Classic Drums Snare Drum to pair with the key: http://www.musiciansfriend.com/search?sB=r&Ntt=Dunnett 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.

Ludwig Drum Company: One Small Script Logo — One Huge Result They certainly never saw it coming ... by Dendy Jarrett (drum head image courtesy Sotheby's) A small script logo on National TV for one performance — who would have thought that it could have changed the drum industry forever? One small script logo — one huge success. On Feb. 9, 1964, the Ludwig Drum Company (founded in 1911) had already been in business for over 50 years. They had enjoyed some highs due to proprietary design and some lows thanks to the Great Depression, two World Wars, and the fact that they had changed ownership a few times during that history. They were purchased back by their founder William F Ludwig, Sr. in 1955. They started building (arguably) their best drums to date during this era, but what happened on that fateful date in February would change forever the face of the drum instrument business, both for Ludwig and many other music instrument companies. Why? Well…although rock 'n roll existed prior to this date, that performance changed the face of the rock 'n roll genre forever. It propelled the interest in making music to a level never before experienced in history. Everyone wanted to become a guitarist or a drummer. And everyone wanted the drums they saw on the Ed Sullivan Show performance. So how did this impact Ludwig? That date has often been referred to within Ludwig as “the night that launched a thousand purchase orders”…that’s how! Ironically, up until 1962 using a logo on a bass drum's front head was not common (although there usually was a watermark at the bottom of the head that was less than inch long). When the Fab Four were getting started, Ringo wanted a set of Ludwig drums because he wanted a kit from America. He traded a set he had for the drums, but insisted on having the Ludwig logo on the front head so that locals would know he had an American-made kit. While William F. Ludwig knew the logo would be on the head (he had struck a deal with the UK retailer who arranged the trade, and gave permission to have the logo painted on the front head), Ludwig had no idea until that night just how prevalent that logo would be — nor could he have predicted the impact. Think about these facts: On that night 73 million viewers (a record), roughly 30% of the U.S. population, tuned in to watch that show. It's said that the very next day an untold number of teens flocked to music instrument stores across the US to buy guitars, basses and (drum roll) Ludwig drums. The impact on Ludwig Drums was huge. In 1961 the cokpany had sales of roughly $3.2 million and in 1962, $3.6 million. They were growing and already expanding their factory. In 1963 Joe Morello added an unexpected boost to their company and, as sales continued, it's reported that sometime in 1964 they burned their million dollar mortgage. In 1964 sales jumped to $6.1 million, but the momentum of that one script logo propelled them to a whopping $13.1 million in sales by 1966. This was unprecedented growth in the drum business Overnight they began running the factory 24 hours a day and 7 days a week. The only days they closed were Thanksgiving, Christmas. and New Year's. Even at this pace, they were barely able to keep up with demand. Growth was so swift that Ludwig now employed roughly 250 employees. Because they were running shifts around the clock, and noise was so bad, Ludwig was forced to purchase the homes to placate the residents across the street from the factory. Still, the noise from machines and trucks was so intense that he held a factory tour for the neighborhood and threw a party at a local pub where an agreement was hammered out: the factory agreed not to run certain machines (mainly the lathes) after 10PM at night. This agreement allowed them to further their expansion and growth. No one could ever have crafted a marketing campaign in some corporate strategy meeting with the same far-reaching impact caused by one amazing TV appearance. Could it happen again? Doubtful. Something on the scale of cosmic-meets-spiritual was at play, and most likely those paths will never cross again in a way that nets the same results. One small script logo would change an industry in the drum business like nothing had ever done before, or will ever again. For most of us who drum today, if we trace back our connection to our love for drumming, somewhere in the past...our paths cross with one small script logo appearing on February 9, 1964. Ludwig Drum Company is still in business today as part of the Conn-Selmer Corporation; they moved their manufacturing plant to Monroe, North Carolina, a few years ago. During the 1980s and 1990s fierce competition slowed Ludwig's dominance. However, in the last few years they have enjoyed quite a resurgence, and are now as dominent player in the drum marketplace as any other manufacturer. Resources: There is debate about the original Ludwig Black Oyster Pearl kit that Ringo owned. Many believe it to have been a 22X14 bass drum; but, from the research I have found, the bass drum was a 20X14, as Ringo wanted as much of “him” to show as possible. He understood the value of marketing and branding. Here is the the specs on the original kit: Ludwig Black Oyster Pearl Finish 4 ply Maple shells with a painted interior shell. Speed King Bass drum Pedal 20”X14” bass drum 9”X13” mounted tom 16”X16” floor tom 5”X14” snare drum The kit (in slight variation of fittings) is still available from Ludwig today (Image shown taken at the 2014 NAMM Show at the Ludwig Booth) To buy a Ludwig Kit like the one detailed go to: Sweetwater Amazon Ebay 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.

So many choices — it can be so confusing! by Dendy Jarrett Many drummers just starting out default to whatever the band director recommends, or whatever came in their snare pack. Most of those include a common 5A or 5B—a great all-around “general purpose” stick. But there are so many stick choices it can leave new and even experienced drummers bewildered as to what we should get. I have several in my arsenal and they're all chosen for different purposes. First, consider what type of music you're playing. Jazz? BeBop? HipHop? Hard Rock? This will go a long way in determining where to start. A LITTLE HISTORY Early on for many of us (back in the 1950’s through 1970’s), sticks were simple. They were made up of three basic classes: A Series sticks (5A, 7a, etc.) were typically a jazz combo, orchestral, or “Acoustic” stick B Series sticks (5B, 2B, etc.) were typically a concert “Band” or heavier drum set stick. S Series sticks were typically the marching or “Street” class of stick In the last 30 years, that has changed significantly. So much diversity started showing up in the music scene that stick manufacturers found more markets as they developed new stick models to meet the demands of the many players. The world of sticks just kept expanding until we have the wide range we have today. STICK ANATOMY 101 Length, weight, diameter…all of these are part of a stick's anatomic makeup, and factor into what stick will work best for you. Length: Drum sticks can run from 15 inches to 17.5 inches long. Some prefer the shorter sticks and some the longer sticks. Most will fall in the middle. There is an argument that the longer the stick, the better the fulcrum. I personally use a Regal Tip 3B which is a 17” stick, which traces back to when I was doing marching drum corps playing and we used Regal Tip Quantum sticks for playing marching tenors (quints). When you're buying sticks, simply playing on a pad can help you determine if a stick's “throw” (or leverage) feels good for you. The ultimate test is playing on a kit. Weight: Drum sticks all have different weight classes. Most are measured in grams due to the light nature of the weight. Most of the weight is derived from length and diameter. But you can place out a dozen pairs of the same size stick and type, start picking them up, and find that some sticks are much denser than others. This can be due to anything from where the wood was harvested to what type of life the tree lived, When choosing a pair of sticks, you’ll want to make sure your sticks are matched with respect to weight. Diameter: The circumference of a stick relates to the stick's diameter. Some other common terms are the stick's thickness or “fat-ness.” There are specialty sticks made out of tubes that are two or more inches in diameter…and then there are sticks that are sometimes referred to as #2 pencils! But what really is the anatomy of a drum stick? Tip: The tip of the stick is … well … the tip. In other words, the part that plays the head. There are really four classes of tip. Wood tips are in a league with the tips' shapes setting the class, and there are also nylon tips. Here's the breakdown: Tear Drop – This is a tip shaped like its name and tends to be the most commonly chosen of tip shapes. It tends to bring out low tones on both the drums and cymbals Barrel Tip – Shaped like a barrel, this gives a very broad (or fat) sound. It's well-rounded and a common choice for the studio drummer. Round Tip – Both small and large round tips. A round tip has less surface hitting a drum head or cymbal than the tear drop or barrel tip, so the sound tends to be a brighter and higher pitch. But if you're using a large round tip, you'll still get a bright, but “phat” sound. Oval – Oval is a popular tip,especially in the more diverse drum set crowd and the marching crowd. This produces and nice full sound on drums and cymbals. Nylon Tip – While some have similar shapes to their wood counterparts and others differ (with more shapes emerging every year), nylon tips by and large fit the Tear Drop shape. Some advantages of a nylon tip over wood is that a wood tip can deteriorate during playing as drums and cymbals erode the wood fibers. The result can be a “soft” sound coming from your “mushy” wood tip. Granted, you really have to be playing over quite a bit of time for this to happen, but it does happen. With nylon tips, you do not typically find any tip deterioration. In years past, we saw problems with the tips coming off or splitting apart, but with advancements in nylon composition, and a huge improvement in adhesives, this problem is now almost non-existant. Some drummers really like nylon tips because they produce a really defined and bright sound. Some prefer them as well because they like the ‘bounce’ they get from tips. Conversly, some don’t care for nylon tips for the same reason. (There are other tips more recently than these on the scene including the Arrow, Taj Mahal [rounded arrow], Reverse Tear Drop, and Blended—just a slight distinction in the shaft to the tip—and some even more obscure types such as diamond tip, half-acorn, and cartwheel). Shoulder (Shank or Taper): This area of the stick, commonly referred to as the shoulder but also called the shank or taper, is right behind the tip and is where the stick starts to increase in diameter. The closer the shoulder (or taper) is to the tip, the less bounce you'll experience. Shaft: This is the area in the middle of the stick, and comprises the most stocl "real estate." If a stick breaks, it will typically be around where the shoulder and the shaft meet. Grip: This is the area you hold, and is usually an inch or an inch and a half in from the end of the stick. This is where most of your magic emanates! Butt: This is the final inch of the stick including the end. Most of the time this never used, however in circumstances where heavy playing is needed, you can always flip the sticks around and play with the butt end. WOOD It’s all about the wood. Great wood can make a great stick. If you’ve ever built anything that used wood, you know that great lumber is hard to find. A 2X4 today is not like a 2X4 of yesteryear. Sticks are the same; for the highest quality, wood chosen from properly managed forests is important. There are primarily three wood types being used for sticks (with two being the main focus): Hickory: This is the most popular by far. Hickory is a forgiving wood due to its fibrous grain makeup. It flexes more than any other wood type, which helps prevent breakage. It absorbs to a large degree, which helps keep your hands from suffering from impact pain. It's dense enough to withstand pounding, while still maintaining both the aforementioned qualities. Again, it's by far the most popular wood choice. Maple: Maple is a light and fine-grain pattern wood. It's great for concert snare drum, percussion ensemble, and jazz ensemble playing (or someone doing acoustic or coffee house gigs where a light touch is needed). Oak: This is a dense and heavy fiber wood type. A lot of drummers love their oak sticks and drums. For me, it causes shock waves that I can feel well into my arms, however there are drummers I know who swear by their oak sticks. Honorable Mention: There are other stick materials. Spun Aluminum, fiberglass, Kevlar, plastic dipped, manufactured woods, compressed woods, carbon fiber and even persimmon wood. Wood sticks are by far the most popular. THE STICK FOR YOU - Best Practice Once you've settled on the right stick model and wood choice, it's time to figure out the best method for choosing a stick. It really isn’t scientific or complicated, and some people aren’t particularly picky about it, but to others (yeah, I’m a stick snob)…it matters. I’ll preempt this by saying that many stick companies now do this for you, and offer what they refer to as “matched” stick sets. Still, so many factors can come into play when you're dealing with wood—for example, humidity, or lack of humidity. How they're stored is another; a warped stick is not a drummer's friend! Lately, I must say I've had great luck ordering sticks online and having them arrive already pitch- and weight-matched. However if I'm going into a store to select sticks, I am “that guy” where they roll their eyes and drop a load of sticks on the counter. I go through them as follows: Pitch Matching: I hold the stick between two fingers (suspended) and tap with another finger to hear the pitch up close to my ear. The object is to find a pair where the pitch is as simiilar as possible. Again, these days lots of companies do this of you with scientific precision. Visual Inspection: This is about looking for any imperfections. I reject anything that looks like it might be a weak spot in the grain (even if it means rejecting a matched pair). Weight: The two sticks should weigh the same. Surprisingly you may have two that are pitch matched yet the weight can be dramatically different (defies all logic). Straightness: Make sure the stick is straight. Most drum shops will have a glass top counter. You simply roll the stick while watching the tip. If you see any wobble, reject it—a warped stick is not your friend! TOOLS – for a good job Just like a carpenter needs the right tools for the job, (you wouldn’t try to frame a house by driving nails with a wrench), drummers need the right tools for their job. Drum sticks are your tool for carrying out a successful groove. The stick has to be a good fit for your hand size, your drum set size, your reach, the music…so many factors. Make sure you're choosing well! And while most will settle into their primary size of choice, carry some other stick sizes so if you're called upon to play something that's a departure from your everyday gig, you're prepared with the right tools for the right job so you can do a good job. RESOURCES TO PURCHASE DRUMSTICKS: http://www.musiciansfriend.com/drum-sticks-mallets TO TALK ABOUT ALL THINGS DRUMSTICKS AND DRUMMING: http://www.harmonycentral.com/t5/Drum-Forum/bd-p/acapella-19 Dendy Jarrett is the Editorial Director and Director of Communities for 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.

by Dendy Jarrett I was recently trading stories about in-ear monitors with fellow Harmony Central Drum Forum member Tommy Maras, and we discovered we were both using the same setup - and ironically, we had each assembled it ourselves. But neither of us can take credit for it, as we've both gigged out of Nashville, and gathered our setup data from seeing what others were using. For many drummers, simply having a wedge monitor is enough (or at least they think it is). But having an external monitor can do some serious damage to your hearing over the course of many years if you play for long periods of time and besides, drummers often aren't hearing the mix correctly. Tommy put it best when he said: “The main point of my IEM (in-era monitoring) setup was hearig protection by reducing the sound levels entering my ears. The secondary point was to be able to hear a click when playing live.” When touring with a larger act that plays relatively large venues, drummers should seriously consider their own in-ear monitor setup. Unfortunately, for the majority of drummers touring regionally and even with national or international acts, having in-ear monitors is the drummer's responsibility. In other words, you have to provide your own IEM setup. WHY IN-EAR MONITORING? IEM is a better alternative to wedges and better for your hearing, but beware! You must avoid running a monitor mix direct from the house or from the board where the sound engineer has control of your volume. If the sound engineer mistakenly turns the wrong knob, you can end up with a blown eardrum. I never had this happen to me, but came too close for comfort (see below for info on an inline volume control box). The options for inner ear monitor “buds” cover quite a range. You can use your normal iPhone type buds but you'll get bleed from stage noise and the isolation won’t be good. The result can be pushing your volume to a level that could damage your hearing. Some companies offer a single driver version with replaceable foam isolators that you use much like soft earplugs. These work quite well and fit just about any person’s ear size and more importantly, they are very affordable. Personally, I use dual-driver, custom-fitted (molded) in-ear monitors from Future Sonics. Tommy states: “After hearing single-driver monitors, I knew I wanted dual-driver monitors so I could hear the bass. I was fortunate enough to make it to NAMM and listen to several brands. After hearing for myself, researching on line, and factoring in price, I decided on the Westone UM2 dual driver monitors. I have a small OtterBox in my stick bag I use to store and protect my monitors." We both find the sound quality and the lows to be much better for the type of playing we do; the dual-driver Westones that Tommy uses have a foam insert to accomplish what the molded types offer in a little more affordable fashion. Pricier, custom-fitted in-ear monitors are coordinated through a hearing clinic, where they pour a substance into your ear which hardens. They then send this to the manufacturer who, in turn, sends you the finished IEMs. The result is a flesh-colored, custom set of extremely comfortable (and great-sounding) in-ear monitors. Many are now available in a wide variety of clear, glitter, and colored finishes. And finally, you don’t have to use inner ears; you can always use circumaural (around the ear) studio quality headphones. You can’t move your head much when you're playing (which was a deal-breaker for me) and they do look a little odd on your head, but headphones like the CAD DH100 Drummer Isolation Headphones do a fine job at a very reasonable price. CLICK I hate playing to a click! Most drummers do. A click makes me feel confined and restricted from the feel and flow of the music, and the tenor of the band. However, there are times when a click is necessary through an entire song, but more importantly, is needed to establish the correct tempo at the beginning of every song. Multiple devices allow establishing a click. Tommy and I both use the Tama Rhythm Watch, which features a line-level audio output for adding the click to your mix. I took my setup to a newer technology lately with an iPhone/iPad app by Frozen Ape called Tempo Advance. It lets you tune, set tempo in any time signature and format, and build a set list so you can step right through your songs. Some people run a drum machine nto their in-ear mix or even front of house, so they can assign a tambourine or cowbell to the mix to establish and maintain tempo. You can run multiple devices into your in-ear monitors with a split cable or one of the devices mentioned below. THE BLACK BOX As stated above, having a way to control the volume coming into your ears is not only crucial for hearing a proper mix, but also to protect your hearing. Enter the Black Box. As Tommy explains, “I needed to find a monitor amp, and after researching the Rolls company's web site, found their PM50s was exactly what I wanted. It has two inputs for monitor and click, volume controls for both, and can be battery-powered if you're not near an outlet. All I needed was the DI between the click and the mic in for the monitor amp, and a few cables to connect everything.” Another option is the Rolls PM55, which like the PM50s, accommodates multiple inputs and outputs and can control the volume to your ears. Both units are in the $50- $60 range, so they're well within the average drummer's budget (see resources below).. You’ll also need a Rolls Matchbox DB25 to run the Tama Rhythm Watch (or your click of choice) into the PM50s or PM55. I use a small compact Behringer mixer that's about the size of two decks of cards to do the same. Either setup will fit in the accessory pocket on your cymbal bag. It's also important to carry a small pouch with different kinds of connectors and adapters. As Tommy recalls, “At my first gig using my newly assembled in-ear monitors, the house had an XLR cable for my monitor feed. The PM50s has only a ¼" in for the monitor, so I ended up buying female XLR-to-¼" male and male XLR-to-¼" male adapters to cover all bases. I could have used the mic in on the monitor amp and run the click into the monitor in, but what I used was more suitable for my application. Overall, it's been a fantastic setup." CONCLUSION As a musician and drummer, your ears are probably the most important piece of "gear" along with your limbs. You need to protect them, and you also need to hear the best mix possible. I typically ask for front of house with a slight bass and rhythm guitar boost, with a little less electric guitar and vocals. Having a proper mix also ensures that you aren’t under or overplaying for the venue. The click also helps you lock in that tempo from the beginning. There are other ways to accomplish the same result, but for many pro drummers in Nashville, this is an affordable solution to protect your hearing while keeping the beat - and that's what it's all about. RESOURCES: Tommy Maras www.tommymaras.com “~Move to the beat of a different drummer.” TAMA Rhythm Watch: http://www.musiciansfriend.com/drums-percussion/tama-rhythm-watch Westone In-Ear Monitor Choices: http://www.musiciansfriend.com/search?sB=r&Ntt=Westone ROLLS Personal Monitor Amp and Mini Mixer Boxes: http://www.musiciansfriend.com/search?sB=r&Ntt=Rolls Behringer Compact Mixer: http://www.musiciansfriend.com/pro-audio/behringer-eurorack-ub502-5-channel-compact-mixer To Talk About All Things Drums: http://www.harmonycentral.com/t5/Drum-Forum/bd-p/acapella-19 Dendy Jarrett is the Editorial Director and Director of Communities for 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.

When necessity becomes the mother of ingenuity by Dendy Jarrett The Need I recently received a call to do a label showcase for an artist. But the venue was tiny, so I was asked to perform the show without a bass drum or hi-hat stand because of the limited stage space. WHAT? Being Flexible Like many drummers, when I was younger my kit had to be ‘just so’ for me to feel comfortable playing a show. Had to be my way or the highway … and don’t ask me to use the “house kit.” As I started playing in Nashville, I became critically aware that you have to be flexible if you expect call-backs. And many times, you're forced to use the “house kit” (and it may be a dog!). I really liked the songwriter doing the showcase, so my wheels started turning immediately about how to meet the criteria for this special request. I started thinking about cocktail kits and the like but due to the budget, using a cocktail kit wasn’t really an option, and there just aren’t dozens of them floating around Nashville that you can borrow. And here enters the part about being flexible. Being creative, able to explore options, and open to making a situation work can really be the difference between your getting calls and not getting calls to play. You need to learn to be flexible in your mind as much as you need to keep your limbs flexible! Meeting the Need I began by assessing my available gear. I grabbed my DW 5000 pedal and started researching online how to disassemble the pedal’s cam assembly with minimal effort or effect on the pedal. This required having some “handy man” knowledge and a good set of Allen wrenches (hex keys). It didn’t take long until I had my pedal apart and had inverted the beater to throw upward, versus the stock setup of throwing the beater forward. I took a picture before and after so I would remember how it would need to be reversed. Then I found a universal clamp that was lying around. I pulled out a 14” Natal Maple floor tom, and worked with it for a while to determine how I could mount it to a floor tom leg so that it could hold the bass drum pedal, which would then play the floor tom's bottom head (my impromptu bass drum). I used this floor tom because I could play the top head as a tom-tom, and let the kick beater play the bottom head as the bass drum. The next challenge was the lack of a “hoop” for mounting the pedal. The solution was a four-inch cowbell post: I mounted one side of the clamp to the leg, and in the other end, I mounted the 4” cowbell post. The pedal hoop clamp was clamped to the cowbell post. It worked like a charm! Next up, the hi-hat stand solution. For the snare drum, I was going to use an 8” Natal side snare that I owned with a DW snare stand that has a snare basket made specifically for smaller snare drums. To that stand, I mounted a DW X-hat stand with a pair of 12” Sabian hi-hat cymbals. One more add-on was a DW dog bone (the part that extends up through the floor tom leg mount) mounted to my floor tom leg post. I added an 18” Sabian Crash Ride to this. Voila! I had my own cocktail kit that I could sit down and play. Necessity The criteria for this gig set the stage for my building this “acoustic” or “coffee house” kit. Keeping your mind open to opportunities also keeps your stretching your reach in the market. The kit went over great. It had lots of side benefits as well: it was less to carry (which is becoming more important to me), and I was able to control dynamics so much better than with a full blown kit. And thanks to the minimalist approach, I was actually the first person ready to play – I beat the guitar player with respect to setup time! I'm now asked by this particular artist to bring the “funky” little kit to the subsequent gigs I'll be playing for him. The great thing about the little kit is that mentally, it took me back to the basics. So, keep an open mind when you're called to do a gig. Remember: it is about the music … not about the drumming. As long as you have the basics to carry the groove and a great attitude, you can get the calls for work. Meanwhile, I'm going back to my little funky kit to jam! Kit from the front at the showcase: The kit from the rear at the showcase: RESOURCES: DW5000 Pedal: http://www.musiciansfriend.com/drums-percussion/dw-5000-series-single-pedal DW Dog Bone: http://www.musiciansfriend.com/drums-percussion/dw-774-dogbone-v-to-eyebolt-ratcheting-clamp Multi-Clamp I used: http://www.musiciansfriend.com/drums-percussion/sound-percussion-sph06-pro-adjustable-multi-clamp Natal Maple Drums: http://www.musiciansfriend.com/drums-percussion/natal-drums-maple-rock-5-piece-shell-pack Natal Side Snare: http://www.musiciansfriend.com/drums-percussion/natal-drums-hand-hammered-series-snare-drum Sabian Cymbals: http://www.musiciansfriend.com/sabian To Discuss Drums and Drumming: http://www.harmonycentral.com/t5/Drum-Forum/bd-p/acapella-19 Dendy Jarrett is the Editorial Director and Director of Communities for 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.

by Dendy Jarrett When growing up, everything was a practice pad! Pillows, the mattress, dash and steering wheel of the car, my sister’s head … everything. We drummers are that way. Even air drumming became my virtual pad. When I started taking lessons, having a good practice pad became essential. Back “in the day” we had vulcanized rubber pads that floated on the drum head on our “student” snare drums, which were held in place by the vacuum created by their shape. They worked but were certainly not ideal. Sometimes necessity is the mother of invention: Enter Pat Petrillo. HISTORY Ironically, I've known Pat Petrillo since I was in the 10th grade in high school. Our high school hosted a DCI Drum & Bugle Corps competition in South Carolina, and Pat marched in the Bayonne Bridgemen (New Jersey-based). This was in the late 1970’s when the Bridgemen Drum and Bugle Corps were on their way to winning top drums for several years running. They broke a cymbal in a rehearsal and I was assigned the task of escorting Pat to a local store to acquire a replacement. Later, I too marched a Top 12 Corps and while we never were buddy buds (we were in competing corps), we did sit and watch many corps together. But as happens in life, we went on with our separate lives. Pat has gone on to have a tremendous career in the field of drumming, having played with Gloria Gaynor, Patti LaBelle, and more. He also has a great website and teaching studio, and coined the phrase: Groovalution. In his own practice and in finding standard one-surface or flip-surface pads lacking for his students, Pat developed the P4 Practice Pad in partnership with Ludwig. TRAVELLING Yeah, not what you think … A major reason for creating this pad was that Pat was not only teaching strength building exercises (which can be taught on a one surface pad), but he was also trying to teach “travelling” around a kit. In the past, this required having an entire practice pad kit (which can be a good thing, but not when space limitations are an issue). Pat developed this pad specifically with the drum set player in mind, because it simulates the travelling and coordination effort of a drum set. MULTI-LEVEL MARKETING Yeah, but again … not what you think … This pad is built on a multi-level platform, which is a benefit I would certainly tout if I was in charge of marketing. These levels are part of the “travelling training" while practicing. Your kit isn’t all on one level nor is this pad. From the back of the pad to its front, each of the four surfaces is at a slightly different height (just like your kit). The first pad is at the lowest level. The two middle pads are on a different, slightly higher level, and the upper area is at the highest level. Overall, this allows for your brain and limbs to learn to travel on a multi-level approach. RUBBER MATTERS And again … not what you think … really! Each of the four (4) playing surfaces of this pad is comprised of different consistency grades of gum rubber. And this is important when the rubber meets the road! Pad Section 1: This section is color-coded dark grey/black. It gives the feel you'd expect with just about any regular gum rubber practice pad - a standard feel, if you will. Designed to be in the “snare” position of your drum set, this is the section where you would spend the majority of your time if you're doing strength or endurance exercises. Pad Section 2: This section is color-coded robin egg blue, and gives the feel of a tom-tom. It's tighter than Section 1 as it emulates a high tom, which is tuned higher. It provides a tighter, quicker rebound action. Pad Section 3: This section is color-coded light grey. It gives you a totally different feel than the neighboring section 2 pad. It's very “mushy,” requiring you to really work for your rebound … just like you would on a floor tom. This is great if you sometimes in the past have used a pillow to work your chops, as this surface will give you a similar experience. I personally really liked working out on this pad cause I could “feel the burn.” It is especially nice because this particular section is quiet, quiet, quiet … allowing a workout when volume becomes a concern. Pad Section 4: This section is color-coded in a ruddy red. It is the tightest playing (or densest) surface. The intention is to provide an experience similar to playing your high-hat or ride cymbal. This pad really gives that sense of playing on a cymbal (hard) surface. GET GROOVALUTION It’s exactly what you think … Pat hit a home run with this pad concept, and Ludwig has found a winner. I’m feelin’ the love! It makes sense on so many levels. For the cost (see pricing below) of most single surface “no concept” practice pads, you get so much more. And for added convenience, it has an 8mm receiver on the bottom of the pad so it fits on almost all industry-standard cymbal stands. I really felt the benefits of having these multiple surfaces, especially when breaking patterns like a paradiddle down between the pad voices. Suddenly you really distinguish the funky patterns you can create, which carry over to the drum set. It allows your hand and brain to start training on independence and movement, fluidity and the things that make playing a kit with some “groovalution” important! RESOURCES: YouTube: Pat Explains the Pad and takes you on a Groovalution ride. Ludwig: http://www.ludwig-drums.com/educationalkits.php Pat Petrillo: http://www.patpetrillo.com To Purchase Ludwig’s P4 Practice Pad — MSRP: $79.95 Street Price: $42.99 http://www.musiciansfriend.com/drums-percussion/ludwig-p4-practice-pad#productDetail Want to discuss practicing techniques, the use of practice pads and more? http://www.harmonycentral.com/t5/Drum-Forum/bd-p/acapella-19 Dendy Jarrett is the Editorial Director and Director of Communities for 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.

Exploring Heel-Up-Heel-Down and Burying The Beater by Dendy Jarrett DON’T BE A HEEL There is an age-old argument between drummers that is as two-camped as Democrat versus Republican or Mac versus PC — Heel Up or Heel Down? The other argument is "bury the beater" or "don’t bury the beater." In many cases the two arguements go hand-in-hand. Many heel up players bury the beater and most heel down players don’t. Why is this the case? The heel up position is fighting gravity and tends to “force” the foot in the ‘bury’ position. While I realize that I'm making a generalization, this observation of heel-down beater-up playing and heel-up beater-down playing has come from years of watching other players while being out on the road. I'll start by making the statement that many instructors or authors may be afraid to say: There are no absolutes on this issue. I was taught heel down, but I know plenty of players who play heel up. That said — there are some truths that tend to make one slightly more advantageous over the other. DO THE MATH Well, the math as it relates to geometry or the theory of relativity. In computer-based music recording there's a term called latency which Craig Anderton defines as "the time that elapses between audio going into and coming out of a computer." The dictionary's more general definition is “the time that elapses between a stimulus and the response to it.” For drumming, it's the time between when your brain sends the signal to strike and when you actually strike. This means that no matter whether you play heel up or heel down, there's a time delay between when your brain directs your muscles to hit the head, and when your foot actually ‘hits’ the head. It may be microseconds, but there is a delay. However if you play heel down and not beater buried, your foot has half the distance to travel to get to the head than if you play heel up and beater buried. This occurs because if you're playing heel up with the beater buried, your beater has to travel from the ‘struck’ position all the way back to the ‘strike’ position and then back to the ‘struck’ position again. The same even holds true if you play heel down and beater buried position. Therefore, you are going to have more challenges (scientifically speaking) with timekeeping with heel up than you will with heel down, especially if you are burying the beater in the head. CHOKE IT DOWN When you strike any membrane there is resonance. Laying your hand back on the membrane will choke the vibrations and resonance - it’s the same principle of choking your cymbal by grabbing it, or stopping a bell from ringing by grabbing it. And if you bury the beater of your bass drum pedal into a bass drum head that's trying to “sing” its resonance, you'll mute the vibrations and therefore choke the head's sound quality. To put it into simpler terms — you won't get the maximum sound quality out of the bass drum if you choke it down. FEET LIKE HANDS When I was being schooled in drumming, I was taught to think of the ankles like wrists, and was taught to do a lot of the same exercises that I was doing with my hands … with my feet. Much in the same vein, you wouldn’t play leaving your sticks buried in the head. (Unless a specific piece of music called for that effect.) You typically think in terms of stroke and rebound with your wrist, so try to think of that same concept with your feet. Sit on your drum throne and practice paradiddles with your feet: try it heel down, then try it heel up. You'll most likely find that as you develop this exercise, it's much easier to execute this with the heel down. KEEP THE PEDAL TO THE METAL As I said before, … there's no true absolute right or wrong way to approach the bass drum pedal. No one (to my knowledge) has ever created the “law” of bass drum pedal technique. There are however, these simple truths will guide you along the way, and hopefully help you decide which method works best for you. Experiment with it. Work it out! This debate won’t end here so in the meantime...keep the pedal to the metal! Want to discuss this subject? Burying The Beater: http://www.harmonycentral.com/t5/Drum-Forum/Poll-Burying-the-beater/td-p/35960125 Heel Up or Heel Down? http://www.harmonycentral.com/t5/Drum-Forum/Heel-up-or-Heel-down/td-p/6619466 Dendy Jarrett is the Editorial Director and Director of Communities for 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.

Stretching Out For Drummers by Dendy Jarrett Prior to starting your daily regimen of drum exercises, playing gigs, or beginning any activity that will require the use of your hands, arms, legs and feet, it's important to stretch out. Your limbs are the primary tools of your trade, so take care to make sure you don't compromise them. Just as any athlete would warm up prior to running or playing ball, drummers should do the same. Warming up does not have to be a tedious or long process. Here's a quick list of warm-ups that I use each day to stay limber and keep my playing muscles prepared for the demands of drumming. Note: Some of these are straightforward and require no image . HANDS, ARMS AND WRISTS Shaking Out First, loosen up and allow your hands and arms to become limber. I accomplish this by simply shaking my hands in a controlled manner; much like you would shake out your hands if you have ever experienced your arms and hands “going to sleep” or if you were shaking water off your hands. Hand Stretches Next, take each arm (one at a time) and hold your arm up with the palm of your hand facing skyward. Next, take your other hand and gently pull back on the fingertips of the skyward hand. You will feel the muscles stretching in your wrists and forearms. Now place the fingertips of each hand (one hand at a time) on the edge of any surface (countertop, edge of your snare, etc) and push your arm downward. This will stretch your fingertips back toward you, further stretching your arm and wrist muscles. The Pretzel- a Wrist and Arm Stretch This next stretch is the most difficult to master, but it will have the best stretching effect on your entire upper torso. Take your drumsticks side by side and hold them in both hands facing skyward. Now take your right hand and lift and twist it over and under towards the elbow of your left arm (this will form an “L” shape with your arms, leaving the sticks perpendicular to your left arm.) This motion will pull on your left hand, twisting it in the opposite direction. You should then pull the left hand towards you and rotate it under following through until your arms are completely inverted from the starting position. Remember you must hold tight to your sticks and keep them together, as they are creating the stretch leverage. To further enhance the stretch out, pull your inverted arms back toward your chest…ouch! You can "undo" from this position by reversing the twist steps. To provide a much more effective stretch, you should be able to work up to doing this motion rapidly. Your arms will “pretzel” in and out of the position in a twisting motion; see the video clip. It will look painful to others (and it will be to you in the beginning!), but in the long run, it will help you a lot. NOTE: Remember to utilize proper breathing techniques with you warm up and during your playing to improve your endurance, and help you keep better time (watch for an upcoming article on Breathing Techniques).. The Propeller- Wrist and Arms Stretch This exercise is great for your forearms and wrist. Take your sticks (side by side) and hold them in your hand. Making sure you have plenty of room so that you don't deck your bass player, rotate your wrist so that your sticks move in a propeller-like fashion. The pull on your muscles increases if you position your sticks further apart (extending the length of the propeller). Linking - a Finger Stretch Simply link your fingers together, invert your hands, and then push your interlocked inverted hands away from you. NOTE: When you do playing exercises, occasionally drop each arm to your side and shake it out to allow blood to flow to your extremities. LEGS AND FEET Most drummers focus primarily on their hands and arms when building chops, which is a huge mistake. Your feet and legs should get the same focus in development and in the same way, should be stretched out. Ankle Rotation Rotate your ankles around and around, allowing the muscles to relax and stretch. Ankle Stretches Extend your legs in front of you while sitting. With your legs extended, point your toes out in front of you. You will instantly feel the benefits of this exercise! Lifts With your toes, stand on the edge of anything that will allow your ankles to hang or extend openly (e.g., the edge of a step, facing toward the stairs.) With your ankles hanging, lift your body using the balls of your feet to support your weight (you'll feel this in your calves). In the same manner, slowly lower your body back down and below the edge of the ledge. This will stretch out the muscles you use for the hi-hat and bass drum pedal. Forward Lunge This exercise is very much like a stretch that a runner would do. Simply stand and place one foot in front of you and thrust yourself down and forward. You will do this with both legs (one at a time). This will stretch not only your ankle and calf muscles, but also your hamstrings and buttocks muscles as well. NOTE: To increase the effectiveness of this stretching process, remember to use proper posture while playing. WRAPPING UP All of these stretching exercises are important in preparing your arms and legs for the workout that drumming inflicts on your muscles. These stretches should only take about 5 minutes before you warm-up or start a gig. Proper stretching helps develop the muscles targeted by specific exercises, as well as improve your endurance. It also prevents muscle lock-up, and as drummers, we know how important that is when playing a 10-minute song at 244 beats per minute! Disclaimer: I am not a physician, and this advice represents techniques that have worked for me. Before starting any kind of exercise program, please seek the advice of a physician (if possible, one trained in sports medicine). You may have suffered problems in the past (e.g., muscle tears, breaks, etc.) that may require special treatments or exercise techniques. Dendy Jarrett is the Editorial Director and Director of Communities for 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.