Modern Drummer 05 2022

MODERN DRUMMER CLUB NFT SEE PAGE 57
THE WORLD’S #1 DRUM RESOURCE
A TRIBUTE TO
TAYLOR
HAWKINS
A GREAT GONE TOO SOON
THE DRUMMERS OF:

TAME IMPALA, WIDOWSPEAK,
BADBADNOTGOOD
RINGO STARR KIT
LESSONS FROM CARMINE APPICE,
PETER ERSKINE, BOB MOSES MAY 2022
UPDATES FROM:
DW, MAPEX, AND ZOOM
FOREVER OUR HERO.
From each and every one of us, we’d simply like to say thank you.
Thank you for the amazing talent, the heart, the smiles, and the personal moments.
Thank you for inspiring us all.
©2022 Drum Workshop, Inc. All Rights Reserved.

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CONTENTS
20 TRIBUTE TO
TAYLOR HAWKINS
A Complete Career Retrospective.
by Mark Griffith
30 TAYLOR HAWKINS
REMEMBERED
Thoughts and Memories from Musicians
and the Music Industry.
34 ALEXANDER SOWINSKI 40 JULIEN BARBAGALLO 44 MICHAEL STASIAK

The drummer from BADBADNOTGOOD Touring drummer for Tame Impala, talks of Widowspeak talks about their new
talks about the band’s evolution and about working with Kevin Parker (Tame record The Jacket.
collaborations with the greats of today. Impala) and his own solo career. by Danny “Ziggy” Laverde
by Danny “Ziggy” Laverde by Danny “Ziggy” Laverde
Volume 46 • Number 5
Cover and contents photos by
Rahav Segev
LESSONS
48 BASICS
Recording from Home and Wearing Three Hats- Billy Ashbaugh
takes us through the process of home recording and doing the jobs
of drummer, engineer, and producer.
50 ROCK PERSPECTIVES
Carmine and Taylor. Celebrating the 50th Anniversary of Carmine
Appice’s Realistic Rock, and in tribute to Taylor Hawkins, we give you
the first drum beats that Taylor ever learned from the book where
he read them.
54 JAZZ DRUMMER’S WORKSHOP

Bob Moses explains his concept of the Eight Resolution Points.
60 CREATIVE PERCUSSION CONTROLLERS

Tony Verderosa explains the Essential Rudiments of Radical
Hybrid Drumming.
64 TAYLOR HAWKINS- IN HIS OWN WORDS.

Taylor recalls how he got started in drumming.
EQUIPMENT
14 NEW AND NOTABLE
New Products from Mapex, Zoom, and
news from Drum Workshop.
20 PRODUCT CLOSE-UP
Reviews of the new Zildjian FX Raw Crashes,
Vic Firth Bluetooth Headphones, TnR Truvibe.
DEPARTMENTS
4 EDITOR’S OVERVIEW 66 NEXT GEN STEVE LYMAN
From Drums to Meditation, Thinking Beyond
6 KIT OF THE MONTH the Surface.
Steve Barone’s “Ghost Rack” kit.
72 COLLECTORS CORNER
8 JAZZ INSIGHTS Donn Bennett has found yet another Ringo
Peter Erskine give us some perspective on Starr kit.
“My Manne, Shelly.”
74 EYE CANDY
10 HEALTH, WELLNESS AND Tommy Clufetos’ touring Black Sabbath kit.
DRUMMING
Jim Petercsak Success in the Gym: Lessons in
the Practice Room.
AN EDITOR’S OVERVIEW
Tribute To Taylor Founder Ronald Spagnardi 1943–2003
Co-Founder Isabel Spagnardi
Publisher/CEO David Frangioni
A lthough much of what I’ll

share here in this month’s
overview is echoed over and
CFO Carolina Frangioni
President David Hakim
over throughout this issue, I’ll CTO Jason Mehler
speak on behalf of my team Senior Art Director Scott Bienstock
and me, the inside Modern Content Director Mark Griffith
Drummer family, many of Editorial Michael Finkelstein
whom were close to Taylor. Editorial Danny Laverde
It was with great sadness Digital Marketing Manager Ricardo Rodriguez
that we have lost a great far Worldwide Education Dom Famularo
too soon. This month’s issue Director of Special Projects Nic Kubes
of Modern Drummer is a deeply Archivist Felipe Laverde
respectful tribute to Taylor
Hawkins, a legend, wonderful THE MD PRO PANEL/ADVISORY BOARD: Chris Adler, Carmine Appice,
person, musician, and drummer. Kenny Aronoff, Bill Bachman, Eddie Bayers, Gregg Bissonette, Jason Bittner,
Taylor was not only a great friend of Modern Drummer but Bill Bruford, Will Calhoun,Terri Lyne Carrington, Matt Chamberlain,
Peter Erskine, Dom Famularo, Daniel Glass, Alex González, Danny Gottlieb,
beloved and admired by the entire drumming community
Benny Greb, Matt Halpern, Horacio Hernandez, Gerald Heyward, Taku Hirano,
worldwide. I personally just corresponded with him on some Jonathan Joseph, Jim Keltner, Paul Leim, Peter Magadini, Pat Mastelotto,
ideas we were discussing for collaboration, then out of nowhere, Rod Morgenstein, Andy Newmark, Carl Palmer, Stephen Perkins, Dafnis Prieto,
I learned of his untimely death. Shock, sadness, grief, disbelief all Rich Redmond, Brian Reitzell, Jim Riley, Bobby Rondinelli, Antonio Sánchez,
needed to be processed. My phone literally didn’t stop receiving Cindy Blackman Santana, Chad Smith, Steve Smith, Todd Sucherman,
messages and calls regarding the news, and everyone felt the Billy Ward, Kenny Washington, Dave Weckl, Paul Wertico, Dennis Wolfe
same overwhelming sentiment of losing Taylor far too soon. It
CONTRIBUTING WRITERS: Email: info@moderndrummer.com.
was so beautiful to see how much everyone loved Taylor and Billy Ashbaugh, Donn Bennett, MODERN DRUMMER welcomes
how much of an influence he was on their lives. This is a man Michael Dawson, Peter Erskine, manuscripts and photos but cannot
Bob Girouard, Mike Haid, assume responsibility for them.
that made a HUGE impact on every person with whom he came Will Romano, Rich Scannella,
in contact. It wasn’t only his drumming, but his musicianship and Ilya Stemkovsky, Tony Verderosa. SUBSCRIPTION CORRESPONDENCE:
singing, and his incredible spirit. This was man that was a true Modern Drummer, 1279 W. Palmetto
MODERN DRUMMER magazine Park Rd PO Box 276064 Boca Raton, FL
rockstar, awesome drummer, and a bundle of positive energy (ISSN 0194-4533) is published monthly 33427. Change of address: Allow at
all at the same time. This month we honor his brilliant career, by MODERN DRUMMER Publications, least six weeks for a change. Please
Inc., 1279 W. Palmetto Park Rd PO provide both old and new address. Call
pay tribute to the loss that will never be forgotten, and remain Box 276064 Boca Raton, FL 33427. 973-239-4140 Phone hours, 9–5 EST
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Fairfield, NJ 07004 and at additional or visit www.moderndrummer.com.
God Bless you Taylor Hawkins and thank you for decades of mailing offices. Copyright 2021 by
inspiration. There’s never a right time for someone to leave our MODERN DRUMMER Publications, Inc. POSTMASTER: Send address changes
All rights reserved. Reproduction without the to Modern Drummer, 1279 W. Palmetto
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send our love and condolences to Taylor’s wife Allison, their EDITORIAL/ADVERTISING/
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4 Modern Drummer May 2022

May 2022 Modern Drummer 5
KIT OF THE MONTH
Ghost Rack
This month’s Modern Drummer Kit of the Month comes from

Steve Barone of Erie, PA.
I’ve always liked using a drum rack, but over the years I’ve
tried to find ways to reduce mass and shave weight from my
hardware case. I’m not afraid to get handy with a pipe cutter,
so this is my latest incarnation, which Brent Barnett at Gibraltar
has dubbed the “ghost rack.” As you can see in the photos, the
rack seems to disappear into the kit, highlighting the beautiful
finish (Pearl MCX in Mocha Tamo, in this instance.)
Another thing worth noting is the ergonomic quality of
the setup. Everything is in front of me, I don’t have to twist
my back, and there is zero wasted space. The OffSet bass
pedal largely makes this possible, and since my band plays a
variety of styles, venues and volumes, items like a flat ride and
a ribbon crasher can be tucked in there without sacrificing
positioning of the core pieces. It’s a working kit that gets set
up and torn down a lot, and if there’s a process that make
gigging life easier, I’ll try it!

8 HRS@9NKE%@INM
%@INM9NNCVNQJHMF@SHSR( HMDRS
5HMFDQ5NMFVQHSDQ
0@S@KH@.TFN
JAZZ INSIGHTS
My Manne, Shelly
By Peter Erskine
S helly Manne was one of my first drum heroes, and he remains a hero to this day. A swinging drummer in any context, he
personified eclecticism while remaining a singularly unique musician. Shelly could do it all.
Since the term “lick” carries negative connotations when it comes to discussing creativity, I’d like to focus this month’s
column on a rhythmic and sticking pattern that might best be termed a “device.” And as devices are useful to have in one’s
toolbox, I hope you’ll be inspired to add this to your bag of tricks.
This triplet-based device works equally well for comping as it does for soloing (especially when trading 4s, 8s, etc.). Many
readers will recognize this as as something that both Philly Joe Jones and Shelly Manne employed:

The dynamic range of this device is somewhat limited in the sense that it is not a power tool. The triplets are played by
the hands and not the feet, so it’s already lighter than most hand/foot combinations. Add to this the fact that it is most
commonly played on the ride area or zone of the cymbal (and not on the edge or bell,) the texture and flow work really well
together. As with all things worth practicing, choose and use different tempos. I suggest you practice this on its own, and
then incorporate it into your ride/time playing:

For listening reference, I’ll suggest the following examples:
Philly Joe Jones, “The Serpent’s Tooth”” trades at 5:50 (Miles Davis) https://youtu.be/8M0s29RhR5E

Shelly Manne, “Moose the Mooche” trades at 5:45 https://youtu.be/HimICaPIawU
Note that both Shelly and Philly Joe will often simply alternate tuplets between the snare and cymbal.

Peter Erskine, “The Honeymoon” (I employ this device while playing time and comping as well as during my trades with the
song’s composer, bassist Darek Oles.) https://youtu.be/dWDymwfz9Mo
In any event, this is a device that’s easy to play plus easy to make sound and feel good. But wait, there’s more. While
demonstrating this to one of my students at the Thornton School of Music at USC, I chanced upon this happy discovery: by
altering the sticking from this

to this

The device allows for some pretty high-level “word play” (also known as poly-rhythmic sophistication) without the drum-
mer needing to think too much about it while playing. I’ll repeat that last part: … WITHOUT THE DRUMMER NEEDING TO
THINK TOO MUCH ABOUT IT WHILE PLAYING. Because: ISN’T THAT THE WHOLE POINT?
As always, use your ears to achieve the best balance, which in turn will achieve the best flow (or feel,) which will result
in the other musicians you’re playing with perceiving your contributions to the music as being that much more valuable,
desirable, and important. Any and all sticking variations should work.
All of this should result in more playing opportunities and greater creativity. And isn’t THAT the whole point of why we do
what we do? One additional / built-in feature to this device is that the drummer need not end the playing of these triplets
with a bass drum and cymbal accent, or “destination point.” It comes and it goes. Choose good heroes and do your best to
honor them every day and in every way. Keep swinging, gang.
Shelly Manne at soundcheck, Aurex
Jazz Festival, Tokyo, Japan, 1980
Peter Erskine
To learn more about Peter grab

your copy of his Legends book at
moderndrummer.com/shop
Check out Peter’s Modern Drummer profile page at moderndrummer.com

HEALTH, WELLNESS, AND DRUMMING
Essential Factors for success in the gym:

Lessons learned in the Practice Room
By James Petercsak
I n the last issue, we examined the myth of the muscle-bound

concept. This instilled an unwarranted fear into many drummers
and percussionists alike: Don’t lift weights, as it can impair dexterity
and hinder your ability to play drums.
Intuitively, we know this doesn’t make sense… Every 4 years, we
watch strong and muscular people propel their bodies through
the air in the summer Olympics Gymnastics competition. Strength
and dexterity are not mutually exclusive - I don’t think anyone
would argue these athletes lack the mobility to play a drum kit. But
unfortunately, this myth has stuck around, and many drummers have
neglected a key area of their health for fear of physical restriction of
their craft.
I won’t belabor the benefits of resistance training and muscular
health; you can always go back and read about that in last month’s
article (trust me – it’s good for you). In this article, we’re going to dive
deeper into the essential factors for success in the gym: Muscular
strength and hypertrophy, without injury.
Factor #1 - Volume Stays Low

the 5-8 range is ideal. But this isn’t a hard-and-fast rule. If you’re older
Perfection is achieved, not when there is nothing more to add, but when and more beat-up you can choose to do a lighter load for the first
there is nothing left to take away. – Antoine de Saint-Exupéry work-set in the 9-12 rep range, then increase the weight and go a
bit heavier in the second set. The important thing is to listen to your
Most people spend way too much time in the gym to make body and adjust accordingly. If you’re a beginner, or someone who
much progress. Yes – you read that correctly… Too much time and doesn’t build muscle so well genetically (a “hard-gainer”), I’d suggest
not enough focus. Much like playing drums in the practice room staying in the 5-8 rep range.
vs practicing drums in the practice room. One has intent, the other Focusing on higher reps is often a big mistake and a prescription
does not. What exactly are we trying to accomplish by spending 2 for injury. Many will see an increased amount of soreness, fatigue,
hours in a gym doing set after set? As 8-time Mr. Olympia Lee Haney and inflammation. Keeping reps lower minimizes fatigue and it
famously said, “Stimulate, don’t annihilate.” reduces the chances of form breaking down. When doing six reps,
I do not have the genetics of anything that resembles a pro- it’s easier to concentrate and maintain maximal tension, as well as
athlete, so whenever I’d follow a typical high-volume program seen perfect technique throughout the set than it is when doing 15+ reps.
in a fitness magazine, I’d get injured. In retrospect, I now realize these Lifting heavier loads recruits more motor units and activates a
programs were intentionally long and difficult… So, you’d need the greater number of muscle fibers earlier in the set. There is still great
supplements they were selling to recover. When I started focusing on value in doing sets of 9-12 reps, however, which is still technically
low volume, high intensity, and progressively overloading week after considered “low-ish.” Especially if your goal is to maximize muscle
week, I finally began to grow and get strong. growth. That’s why you’ll see a rep range of 5-8 in the first set, then
Nearly every time I have someone reduce their volume, they 9-12 in the second with a lighter load.
make progress. I have never written a program for someone where I
increased their volume which led to better results. 100% of the time, Factor #3 – The Right Exercises
they come to me doing too much. We reduce volume; they make The best muscle and strength building movements are those that:
progress. Interestingly, their nagging injuries begin to subside, too. • Allow for proper joint stacking
The following program may not look like a lot, but that’s where the • Align well with your anatomy
magic is. Trust the process. • Allow you to use a large amount of weight
• Take the muscle through a fairly large range of motion
Factor #2 – Two Hard Sets • Have a resistance profile that matches your body’s strength profile
Many programs will prescribe somewhere from 3-7 sets. They’re • Overload the lengthened (stretch) position
not talking about warming up, or ramp-up sets… They’re giving 3-7 • Feel good and don’t beat up your body
work sets. Let’s face it, we’re not going to the NFL or the Olympics. A quick mention about joint stacking and working with your
We’re just trying to be healthy so we can drum into our old age… 2 anatomy - This is a subject that is very complex and highly
sets are all you need. Some would even argue 1 is all you need. But individualized. Like drumming, I can’t give you a one-size fits all
since we need to practice our lifts; 2 sets work nicely. So, we’re going approach to lifting. Unfortunately, no one can. This is why working
to do several warmup or ramp-up sets to “grease the groove” and lock with a coach or trainer is important: They will be able to see
in our form. Then take that picture perfect technique to the work sets. things you can’t. Until then, I’d recommend video recording your
For the number of repetitions within each set, I generally believe lifts with your cell phone. Ask yourself, “do my joints stack nicely

over themselves, or do my elbows start to flare out on a press, as hard as possible through every inch of every rep. Master the
for instance.” We’ve all been told of the benefits from recording transition from the eccentric (lowering) to the concentric (lifting)
ourselves in the practice room. Same benefits apply in the gym. portion of the set. Many injuries happen when people get sloppy
You’ll probably notice similarities in movement patterns between and bounce in the end ranges. Focus on owning that. If you tend
lifting and playing drums. If you can identify areas of unnecessary to bounce out of the bottom of a lifting position, I’d recommend
or strange tension, that is a huge win and will greatly improve your pausing for 1-2 seconds in the stretch position of each rep, while
kinesthetic awareness. That being said, I believe there is one tip I maintaining maximal tension.
can give to musicians that will help prevent elbow issues: Whenever
pulling or training the biceps directly, I’d recommend using a Factor #6 – Focus on getting strong
“thumbless grip.” This does not apply to pressing movements but How much progress are you going to make practicing the same
when pulling, a thumbless grip will disperse tension across muscles lick, at the same tempo, repeatedly? To make progress on the drums,
in the forearm and help alleviate overloading the tendons. you need to push yourself. Same applies in the gym: To gain muscle
and strength, you must add weight or reps, slowly, over time.
Factor #4 – Proper sequence If you can do 50-pound dumbbell rows for eight reps today and
are still rowing 50 pounds for eight reps six months from now, you’ll
Often the less there is to justify a traditional custom, the harder it is to have no new muscle tissue. You must get stronger to grow. Just
get rid of it -Mark Twain keep in mind that you can’t get stronger at every workout on every
exercise, all the time. If that were possible, we’d all be doing 1,000
I don’t like starting workouts with a big barbell lift. This is pounds on every exercise after a few years of training. There will be
blasphemy in the traditional strength and conditioning world. I, days when you can’t move up in weight and that’s fine. On those
and many others have gotten hurt many times doing that. A key days, work to improve your technique. Learn to listen to your body
to staying healthy is to put large compound exercises later in the and take what it’s willing to give you on that day. Otherwise, you can
workout when your joints are fully lubricated. For example, instead end up getting injured if you constantly try to push through bad
of starting with a squat we will start with a leg curl, and/or a single days.
leg exercise; then squat. Instead of starting with a barbell press we
will do a dumbbell or machine press, then use a barbell. Factor #7 – Optimal Recovery
You probably won’t be able to lift quite as much weight on those You don’t grow in the gym, you grow during your recovery period.
barbell exercises, but who cares? The key to making progress is What should I do to enhance recovery?
to train consistently over time without getting hurt. When you Sleep is always going to be the number one thing for improving
feel better and are building muscle faster you won’t worry too recovery. Perfecting sleep starts by managing your circadian
much about a slight reduction in weight on the bar. I have never rhythm:
introduced someone to this way of training and had them go back • Get out in natural sunlight first thing in the morning for 10-20
to any other way. It’s so superior that you won’t go back. minutes, with no sunglasses
• Stop drinking caffeine by noon.
Factor # 5 – Technique • Keep the house lights low at night.
When Benny Goodman was asked why he still practices the • Turn down the brightness on all screens.
fundamentals religiously, he said: “So when I have a bad day, I’m the • Ideally, eliminate all screens two hours before bed.
only one that knows.” • Don’t drink too much water or take too many supplements before
For most people in a public gym, technique is an afterthought. bed.
This makes no sense when compared to drumming (or any • Keep your bedroom pitch black.
instrument). When we first started playing, we spent inordinate • Keep your room 66-68 degrees.
amounts of time improving our mechanics and technique. This • Take a cold shower before bed to drop your core temperature.
doesn’t mean there is only one way to play anything, but if you pick • Don’t fast longer than 12 hours if you have trouble sleeping.
up a drum stick like you pick up a hammer, you’ll probably have After sleep comes nutrition. I won’t get into that here, as that’s
some limitations over time. Take that same mentality of improving a whole article in itself, but stick to whole foods with minimal
the fundamentals to thy gym. The number of sets, reps, volume, and processing as possible. The next most important thing is managing
frequency are meaningless until you can master execution. stress. Do things like meditate, get out in nature, read fiction,
Execution is the first form of progressive overload. Nothing can laugh, spend time with people you love, get enough sun each day,
come before that. So, if you can press 100 pounds for six reps and and take a break from the news and social media. Reach out to
your form is a 5 out of 10, then don’t think about increasing the someone you haven’t spoken to in a while… Now’s a good time.
weight until that’s fixed. Hoisting up weight with sloppy form To maximize recovery and longevity I highly recommend
will only get you injured. Like your drum teacher said: “Technique, getting in a sauna for 30 minutes 2-3 times per week. I’d also highly
technique, technique.” recommend getting in an ice bath, a cold body of water, or even
Always be thinking about how you can improve. How can you just an ice-cold shower. Contrast baths is a great technique that
make it the best set you’ve ever done? Imagine your sets are being originated in the Eastern Bloc countries that sped up the recovery
filmed and this will be the only instructional video ever recorded for of their athletes. Most people don’t have 2 bathtubs to jump in and
all the world to ever see. Put that much focus into it. out of, so a more practical way would be simply switching the water
Do everything you can to stay locked-in, maximize tension in the temperature in the shower back and forth. This helps flush nutrient
muscle, eliminate momentum, and make the target muscle work rich blood in and out of muscle tissue.

Seated Cable Fly shoulder blades spread all the way, then
Sample Program Sets: 2 Reps: 6-8, 9-12 squeeze them together at the top.
Day 1 – Push 75 Degree Incline DB Press 2) Neutral Grip Rack Chin Up

Sets: 2 Reps: 6-8, 9-12 Sets: 2 Reps: 6-8, 9-12 Rest: 180
Ring Pushup Do your ramp up sets on a pulldown
Do 2-4 ramp up sets of 5 reps to get to
Sets: 2 Reps: 6-10
your working weight. Keep your elbows in machine or just on the rings/suspension
Do your ramp up sets by setting the rings
front of you at a 45 degree angle to your straps with your feet on the floor. Set the
higher and moving them down each set
torso. Keep your rib cage down and no box or bench for your feet to go on at about
to make it harder. To increase the difficulty
arch in your lower back. On the way down waist height. Set the rings (or you can use
of your work sets you have a few options.
think about engaging your lats and doing a Angles 90’s on a bar) at a height that has
Firstly, you can hang the rings further apart.
pulldown. your butt just a couple inches off the ground
Then, if you need extra resistance, you can
in the bottom position. You can increase
use a weighted vest or chains. Or even have
45 Degree Incline DB Y-Raise load with either a weighted vest, chains, an
a partner hold a plate on your back.
Sets: 2 Reps: 6-8, 9-12 EZ bar or medicine ball on your lap.
Another option is to move the straps
Go lighter than you think on these to
inside of your upper arms instead of keeping
completely eliminate momentum. Try to 3) 1 Arm Cable or Machine Row
them on the outside of your upper arms like
really focus on your shoulders doing the Sets: 2 Reps: 6-8, 9-12 Rest: 120
they are normally done. This instantly makes
work and contracting fully at the top of each This is a lat focused row which means you
it 30% more challenging. Keep your elbows
rep. don’t arch your lower or upper back. Just
tucked at 45 degrees to your side. Brace your
keep your spine neutral, and only pull your
abs, squeeze your glutes and flex your quads
Cable X-Pushdown arm back to its normal anatomical resting
throughout the set.
Sets: 3 Reps: 6-8, 8-10, 10-12 position at the side of your torso. Don’t pull
Keep upper arms locked in place and only it back any further than that or worry about
30 Degree Incline Barbell pulling your shoulder blade all the way
hinge at the elbows. If you don’t have cables
or DB Press back. Any good cable or machine row can
use two bands.
Sets: 2 Reps: 5-7, 8-10
work here. If you don’t have cables just do a
You can use dumbbells or a barbell. If you
have a neutral grip bar use that instead of
Day 2 - Pull dumbbell row.
a straight bar. If you have access to a good

1) Pronated Incline DB Row 4) Barbell Hip Thrust
pressing machine like a Nautilus Xplode,
Sets: 2 Reps: 6-8, 9-12 Rest: 120 Sets: 2 Reps: 6-8, 9-12 Rest: 120
Prime, Atlantis, or Life Fitness you can use
If you have a chest supported T-Bar you You can use a good machine like the
that instead, if you want to. Keep your
can use that instead. In fact, that would be Nautilus Glute Drive if you have access to it.
elbows tucked to your side at a 45 degree
the preferred option. Focus on letting the Don’t arch your back at all throughout the
angle, with a neutral grip.
One Arm Cable or Machine Row Barbell Hip Thrust
Incline Press Incline Row

Neutral Grip Rack Chin Up Barbell Roman Deadlift
set. Keep your spine neutral. Try to maintain

a vertical shin angle throughout. This will
seem like a small range of motion. But that’s
what we want here.
5) Barbell Romanian Deadlift

Sets: 2 Reps: 5-7, 8-10 Rest: 180
Make sure to keep your spine neutral and
not arched. Drive your hips back to initiate
the movement. Then come up when you
reach the end range of your hamstrings, Incline Y-Raise
when your hips can’t go back any further.
6) 1 Arm Preacher Curl

Sets: 3 Reps: 6-8, 8-10, 10-12 Rest: 90
Drive your triceps down into the pad the
entire set. Use an incline bench or glute ham
raise if you don’t have a dedicated preacher
curl bench.
Day 3 - Legs
Leg Curl
Seated Leg Curl
bottom of each rep think about pressing the time, coming up to a full crunch and almost
Drive yourself back into the pad the entire
floor away from you while engaging every cramping up your abs.
time. If you only have a lying leg curl you can
muscle in your lower body and generating
use that. Or do a glute ham raise or leg curl
as much tension as humanly possible. Do Before attempting any exercises
with straps, bands or sliders, if that is your
NOT arch your lower back. Keep it neutral. mentioned in this article, consult with
only option.
your doctor.
Walking Lunge
Supported Skater Squat
Hinge forward slightly at the hips on each James Petercsak is a drummer / percussionist
Do a set or two of full range, knees over
rep so you have a bit of a forward lean. located in the New York metropolitan area.
toes split squats first. Then do a ramp up set
45 Degree Back Raise In addition to his career in performance,
of supported skaters where you use more
Drive your hips into the pad and round James has been a part of the Music Industry
assistance from your arms and don’t go quite
your upper back. Only flex at the hips and since 2011. He has been a featured soloist
as low.
don’t round your lower back at all. Use your at the SoundSCAPE Music Festival in Pavia,
glutes to initiate the movement and squeeze Italy and has performed across the United
Heels Elevated Safety Bar Squat
them hard at the top. You can do this on a States, Europe, and Asia. James has been in
Ideally you’d use the Prime USA wedges
regular back extension/Roman chair if you residence at the Banff Centre for the Arts in
or something similar to elevate your heels
don’t have a 45 degree bench. Or a glute Canada and is a member of the Orchestra of
and help you stay more upright and turn
ham raise. If you don’t have any of those you Northern New York. James holds a Bachelor
this into a very quad-focused squat. Worst
can do a kettlebell swing or a single leg RDL of Music degree from SUNY Potsdam and a
case scenario- use 5lb plates. Or wear squat
or a single leg hip thrust. Any of those will be Master of Music degree from McGill University
shoes.
fine. where he studied with Internationally
Drive your knees forward and stay as
renowned percussionist Aiyun Huang, and
upright as possible. If you don’t have a safety
Ab Mat Cross Bench Crunch Principal timpanist of the Montreal Symphony
squat bar use a straight bar. Or you can use a
Think about getting a full stretch on Orchestra, Andrei Malashenko.
good squat machine like a pendulum. At the
each rep then slowly, one row of abs at a
Check out James’ Modern Drummer profile page at moderndrummer.com
DW & LP Named New Orleans Jazz & Heritage Festival Official Drums
Drum Workshop, Inc. (DW) in conjunction with Latin Percussion (LP) support both the wealth of musical talent that the Fest showcases
are delighted to be gear support sponsors for the New Orleans Jazz and the amazing krewe behind the scenes.” Festival Executive
& Heritage Festival (Jazz Fest) 2022. Director Stage Production Reginald Toussaint commented, “We
Jazz Fest takes place over two weekends, 29th April to 1st May would like to welcome DW Drums to The New Orleans Jazz &
and 5th to 8th May 2022, at the Fair Grounds Race Course in New Heritage Festival and we look forward to a long-lasting relationship.”
Orleans, LA. The first-ever concert event was held in 1970 in Congo To find out more about Jazz Fest please visit https://www.
Square New Orleans, the open area space where enslaved African nojazzfest.com/. To find out more about DW and its products
Americans gathered on Sundays in the early 1880s to create sounds please go to http://www.dwdrums.com/ #DrummersChoice. To
that ultimately influenced all American Music. The inaugural event, find out more about LP please go to https://www.lpmusic.com/
featuring legendary artists such as Fats Domino and Duke Ellington #wearerhythm
had a modest audience of
hundreds. Today the event is one
of the nation’s largest spectaculars
with an annual attendance of over
half a million.
Over the half century, many
globally renowned artists have
played DW and LP instruments at
the festival, with this year being
no exception. Announced acts
include The Who (Zak Starkey),
Stevie Nicks (Drew Hester), Death
Cab for Cutie (Jason McGerr),
Jimmy Buffett (Roger Guth), Elvis
Costello (Peter Thomas), Trombone
Shorty (Joey Peebles/Weedie
Braimah), Galactic (Stanton
Moore/Anjelika ‘Jelly’ Joseph), The
Avett Brothers (Mike Marsh), Chris
Isaak (Raphael Padilla), Antonio
Sánchez, Boz Scaggs (Branlie
Mejias), Erykah Badu (Frank Moka)
and many others!!
Founded in 1972 and
celebrating 50th Anniversary as
the Drummer’s Choice, DW is
world renowned for its award-
winning custom drums, pedals,
hardware, and accessories. The
company’s industry-standard
products are widely regarded
for studio-friendly sound,
build quality and road-proven
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Since the 1960s LP has grown
to be the best-selling percussion
instrument brand available today.
The world’s top professionals
choose Latin Percussion
instruments for their authenticity
and innovation.
“The rich heritages of DW, LP
and the Jazz Fest fit together
perfectly,” said Juels Thomas
(Education & Events Manager for
DW Brands). “We’re proud to help

Zoom Introduces the H4n Pro,
Offering Superior Performance
and Upgraded Features
Zoom North America has unveiled the new H4n
Pro Handy Recorder. With the H4n Pro, Zoom has
taken everything creators love about the original H4n
and brought it to the next level. Featuring advanced
microphones, high performance mic preamps, and an
extremely low noise floor, the H4n Pro delivers high-quality
four-track audio recording for music, film, podcasting, and
beyond. The H4n Pro’s state-of-the-art, built-in condenser mics
capture sound with remarkable clarity and definition. Newly
updated to handle up to a thunderous 140 dB SPL, creators can count
on distortion-free X/Y recording in even the loudest environments.
The Pro’s two XLR/TRS inputs utilize the same high performance, low-
noise mic preamps as the acclaimed Zoom H5 and H6 Handy Recorders. The
improved noise floor (-120 dBu EIN) allows for audio capture with less noise
and fewer artifacts. The new rubberized, ergonomic body is perfect for use in
the field. Newly added locking combo connectors ensure mic cables stay secure.
A headphone/line out jack makes it easy to send high-definition stereo directly to a
camera, while a built-in monophonic reference speaker provides quick audio reference
in the field. The H4n Pro also features three recording modes, built-in studio-grade effects,
and the ability to function as a 2-input/2-output USB audio interface.
The Zoom H4n Pro Handy Recorder will be available in stores June 1, 2016 for $219.99.
For more information including specs and images, visit zoom-na.com/H4nPro or contact
Zoom North America at info@zoom-na.com.
Mapex takes the Saturn Series to a New Level with New Finishes
The Saturn Series has become synonymous with the
Mapex brand, serving as a cornerstone of the lineup for
decades. Known for producing rich, warm and punchy
drum tones that are now woven through multiple genres
of modern music from live stages and studios all over the
world; The Saturn Maple/Walnut hybrid shells defined a
new standard by unveiling the potential of blended shell
technology.
For many enthusiasts, Saturn is also known for its
visual appeal, which is taken to another level in 2022
with the introduction of two new stunning lacquer fade
finishes. The Aqua Blue Fade features a clear natural finish
transitioning to a watery aqua blue evoking relaxing
visions of the intersection of ocean waves and near
white sand on a tropical beach. The striking Sulphur Fade
features a warm golden glow emerging triumphantly
from dark earthtone black.
All of the innovative features that the Saturn Series are
known for remain in place, including the SONIClear™ tom
suspension system, floor tom feet designed to increase
overall resonance by preserving vibration in the shell, as well as low-contact bass drum claws. The SONIClear™ bearing edge profile on all
Saturn toms and bass drums continues to ensure quality transmission of sound from head to shell, reducing unwanted overtone frequencies
and providing a strong fundamental pitch. This also lends to an effortless tuning experience which serves to elevate practical function to
equal the high level of the outstanding sound and look of these fine instruments.
Mapex products are hand-built and hand-assembled by the artisans at its owned factory. The people at Mapex have earned a
distinguished reputation for designing, engineering, and building the highest quality acoustic drums. In fact, Mapex is one of the only
companies of its kind to have earned ISO9001 certification - the world’s standard for manufacturing excellence.
Facebook: http://www.facebook.com/MapexDrums YouTube Channel: http://www.youtube.com/mapexdrumsusa To find your
nearest Mapex dealer: http://mapexdrums.com/us/locator/

PRODUCT CLOSE-UP
Zildjian FX Raw Crashes

By Nic Kubes
B eing the most undefinable cymbals Zildjian has ever

produced, the new FX Raw Crashes certainly stand out.
Even compared to the many effect cymbals Zildjian has in
a visual and sonic work of art, The fact that no two Raw
Crashes are alike makes them the perfect choice for anyone
looking for a truly personal instrument to add to their setup.”
their product roster, these offer a unique voice that inspired Pulling these unfinished cymbals out of the box I was
me to play differently. Blurring the lines between a crash expecting an overpowering sound with a lot of bite, but
that’s ride-able and a ride that’s crash-able, these cymbals sitting down with them on the kit for the first time I was
compliment most kits, and will add a depth of sound to surprised how clean and pronounced the tone was. To
whatever musical scenario presents itself. sum-up my favorite quality these cymbals have in one
Each Raw Crash is distinct in sound and look, which word, it would be control. The specific combination of stick
makes them a great pick for adding a unique sonic color definition, response, and decay offered creates a cymbal
to your setup. Ranging in size from 20 to 23 inches, the which reacts to subtle strokes, while allowing the player to
irregular size and surface comes from the fact that the dig in at a moment’s notice. How these factors are balanced
cymbal isn’t hammered or lathed, nor is it cut into a circle. and interact in a cymbal could leave you with a messy
These variations in profile, shape, size, and consistency sound including overtones and huge wash. Loudness, wash,
are what create the wildly individual sounds that make and overall aggressive characteristics are common pitfalls
these cymbals sing in a special way. Zildjian’s Global Brand you can encounter when dealing with effect cymbals that
Manager Andy Tamulynas says, “Each Raw Crash really is often end up overpowering the rest of the kit. I encountered

none of those problems when playing the FX Raw crashes. still dry enough that it gets out of the way without being
This allowed me to pull the dynamics out of the cymbal, overpowering.
rather than having to deal with keeping them in check while Using both the small and large bell versions on a single
playing. kit opened up a world of melodic possibilities. Combined
They are dry and controlled, ideal for moderate volume with their unique timbre, I found myself being led on a
situations. Their character and emphasis on stick definition journey through different textures and dynamics. Whether
also make a great alternative ride cymbal as well. The it’s atmospheric, jazz, hip-hop, or laying back and keeping
small bell version delivers a tucked-in sound with fewer time, I believe these cymbals will help breathe new life into
overtones, whereas the large bell opens up quickly with whatever musician or musical context they encounter.
an explosive crash and a more pronounced bell tone but is
PRODUCT CLOSE-UP
TnR TrueVibes
By Nic Kubes
T rueVibe isolation
mounts provide a
cushioning that allows
choked up. We had heard
of people using drum felts
under the legs of a floor
your drums to get off tom, but we didn’t have
the ground. Not losing any extra. I did have some
vibration to the floor and studio sound treatment
hardware makes a bigger foam laying around, so we
difference than one may placed that under the legs.
realize. This includes Voila, all the low end came
improved resonance, back and the decay was
organized overtones, and long and smooth. What we
less muffling to worry learned that day was that
about. “The name ‘TrueVibe’ any object of greater mass
best describes the value (i.e. the floor or hardware)
found in our isolation will absorb the drums
mounts- they allow drums energy. When you float or
to resonate to their greatest decouple the drum, all of
potential, vibrating free of its energy is used to speak
the constraints that snare and the voice of the drum
drum stands and floor tom is pronounced clearly, with
legs typically create.” says less odd harmonics and
TnR Products co-owner overtones. We then began
Rich Wiley. “Regardless of to refine and improve
what the musical context the design into what we
necessitates when it comes currently offer today.”
to overtone control or sustain, maximizing resonance means a wider Getting the chance to put the TrueVibes on a kit and test
tuning range, greater projection, and a fuller overall sound.” Used them out myself, I was pleasantly surprised with the clarity and
by drummers including Carter McLean, Gunnar Olsen, and Aaron support they brought to my drums. I would describe the effect as
Sterling, TnR TrueVibe mounts provide a simple and effective way to a tonal nudge, re-focusing the
get more out of your drums. fundamental pitch. As result, I
Along with a rebranding, several design changes have been found that tuning became a bit
made to update the product. The snare stand isolation mounts have easier and cross-talk (ringing
undergone subtle but impactful changes in shape and material for overtones) between drums
improved performance with stand-mounted tom toms as well as was reduced. By freeing up the
snare drums, providing the necessary cushioning regardless of the floor toms and letting them
weight of the drum itself. Silicon bands have been added to the ring in their most natural way,
floor tom isolation mounts, providing improved stability while also I was able to fine-tune them to
enhancing the product’s a greater extent, and helped
durability and lifespan. the whole kit sing together as a
After speaking whole. The other factor I wanted
with co-owner Rich Wiley, to address was convenance.
I thought it was important When making sure your drums
to include the story of cooperate with whatever
how this product came to room, venue, or studio you find
be. “We created our floor yourself in is part of the job,
tom iso mounts (formerly being able to pop the TrueVibes on and off so easily makes them a
known as Booty Shakers) simple but elegant solution that can be tossed into any gear bag.
out of necessity one day TnR TrueVibe isolation mounts are not only good at increasing
in the studio. We had a 16” sustain; But by helping reduce the sonic constraints that hardware
floor tom that sounded puts on drums, TrueVibes accentuate the fundamental pitch while
beautiful while held by simultaneously enhancing tone, depth, projection, and overall
the rim off the ground, but resonance. This support of the natural tone helps the drum react
when placed back on the and respond any way you strike it, whether that be in the studio,
floor all its low end went live, or in the practice room.
away and the note it made

Vic Firth Bluetooth Isolation Headphones
By Nic Kubes
L ike many of you reading this, I have been using

the Vic Firth Stereo Isolation Headphones for years
now, and my ears have been thanking me. With the
success of the original design, it was a logical next
step for Vic Firth to introduce a Bluetooth version of
the popular product. “We are excited to introduce a
wireless version of our immensely popular Vic Firth
Stereo Isolation Headphones,” says Pamela Ricci,
Zildjian’s Brand Manager for Apparel, Merchandise
& Accessories. “Wireless capability has been the
most requested product feature from our artists
and consumers alike. Leveraging Bluetooth 5.0
technology, we have developed a product that retains
the outside noise cancellation and clear, crisp sound
of the SIH2, with low latency and outstanding battery
life.”
Although they deaden outside noise by 20
decibels, no clarity of sound is lost. This helps keep
the headphone volume to a minimum while playing,
reducing both long and short-term hearing strain.
It’s easy to forget you’re even wearing headphones at
times, while the firm but comfortable fit alleviates any
fear of them falling off. Incorporating Bluetooth into
this new model allows for greater freedom of mobility,
without any wires getting in the way.
The VF Bluetooth Isolation Headphones come in
a textured red finish with insulated foam cushions
and padded headband. The package also includes
a 150cm detachable 1/8in line-in cable, 1/4in
headphone jack adapter, 40cm USB charging cable,
and an instruction insert.
The rechargeable 500mA built-in battery allows for
up to 20 hours of use, and by licensing Bluetooth 5.0
technology for the lowest latency, these headphones
are dependable and offer superb hearing protection.

Taylor
Hawkins By Mark Griffith
O n March 25, 2022 musicians, drummers,

and music fans around the world were
devastated to learn that drummer Taylor
Hawkins had died. Hawkins was a good
friend of Modern Drummer, and we join in
the deep sorrow of losing such a wonderful
person, amazing musician, and a bright light
at such a young age. In the wake of such
a tragedy we can all remember his deep
love for music, his energetic drumming, his
enthusiastic and refreshing attitude, and
his fascinating and inspiring musical career.
Taylor Hawkins and his musical life are well
deserving of a closer look.
In 1994 Taylor got his first “big gig” touring
with Canadian singer-songwriter Sass
Jordan. Speaking about that gig, Taylor
remembered, “Sass taught me how to be in a
rock and roll band and she gave me my first
rock and roll paycheck. On a 2015 YouTube
video which had Jordan sitting in with the
Foo Fighters, Dave Grohl says, ”If it weren’t
for Sass Jordan, Taylor Hawkins wouldn’t be
in the Foo Fighters.” We all owe Sass Jordan a
big thank you!
h94_Ws

Rahav Segev

The Foo Fighters began with Dave on from Jordan and was tearing it up as and close friend, bassist Chris Chaney. In
Grohl playing all of the instruments on the the touring drummer for pop-superstar interviews, Hawkins remembered that in a
brilliant self-titled debut, former Sunny Day Alanis Morissette in support of her Jagged fleeting moment, Alanis actually asked him
Real Estate drummer William Goldsmith Little Pill record. We can all see the young what he was going to say when Dave Grohl
was brought in to play drums on the enthusiastic drummer with boundless asked him to join the Foo Fighters? With his
second record entitled The Color and the rock and roll energy by watching Alanis typical humility Hawkins just laughed her
Shape. However, when Grohl deemed Morissette’s DVD Jagged Little Pill, Live. off.
Goldsmith too green to play on the Amazingly, on live gigs, Taylor and the rest At the time, Taylor and Grohl were casual
record, and offered him the job of touring of Alanis’ band transformed Alanis’ highly friends, and it turns out that Grohl did ask
drummer, Goldsmith declined and left the produced hit pop songs into rock and Hawkins about potential new drummers
band. roll headbangers. This is also when Taylor for his new band. But when he did, Taylor
In 1996 Taylor Hawkins had moved first played with longtime collaborator gave him one only name, Taylor Hawkins.
Rahav Segev

Grohl was skeptical because (Taylor’s
current employer) Alanis Morissette was
one of the biggest pop stars on the scene
and doing very well. Taylor insisted, saying
that he wanted to be in a rock band, not
a drummer for a solo artist. Therefore,
Dave Grohl plucked the energetic young
drummer from Alanis Morissette’s band
to join the Foo Fighters and a musical
brotherhood was born, and rock history
would never be the same.
Taylor Hawkins was the all-important
Alex Kluft
final piece of the puzzle in creating exception.

the core of a legendary rock band. The Hawkins began playing all of the drums
drummer is the most important piece in a on the next recording called One by One.
rock and roll band, and with the addition Going forward with One by One, In Your
of Hawkins, now the Foo Fighters had Honor, and Echoes, Silence, Patience &
two great drummers. At the beginning, Grace, the Foo Fighters music and the
Hawkins shared the drumming duties with groove grew even more refined. As Taylor’s
Grohl on the recording There is Nothing Left drumming evolved, so did Grohl’s melodies
to Lose. This is a very good recording that and arrangements. In an interview, Taylor
features one of Taylor’s favorite Foo tunes remarks how he acted as Dave’s “drum
“Aurora.” machine” when Dave was writing and
As Hawkins, (bassist) Nate Mendel, arranging new songs. I can hear this as
and Grohl became more comfortable a strong element of the Foo Fighters.
together, the outstanding songwriting The songs and arrangements are very
and the overall groove got even stronger. rhythmic. There are rhythmic and melodic
Foo Fighter songs, grooves, and drum hooks, it is no surprise that there were two
parts became much more integrated. drummers contributing to these songs
Bands evolve, and the Foo Fighters are no and arrangements. Together Taylor and

Dave created songs and arrangements that passively in the background either. A great and the melody. This is what happened
spawned drum parts that simply couldn’t drum part frames the song. Taylor’s drum with the Foo Fighters. Through lots of live
be separated from the songs. parts framed Grohl’s songs so perfectly that and studio playing, the rhythm section
As is true with any pop or rock music, they became one. gelled, great songs followed, the band
a truly great drum part will fit the song In a band everyone has a role. The rhythm progressed, and the magnificent music and
perfectly. A great drum part weaves itself guitarist fills in the cracks and provides the the accolades piled up.
within the song in a way that doesn’t rhythmic harmony for a song, the bassist is In my opinion, everything peaked with
detract from the song but doesn’t sit the foundational link between the drummer 2011’s Wasting Light. This is a truly GREAT
Rahav Segev

rock record! The bull-dozer groove (that process is documented on the outstanding drumming infected everyone he met. If
Grohl, Hawkins, bassist Nate Mendel, and DVD called Back and Forth. The DVD also you had the opportunity to talk to him
outstanding guitarists Pat Smear and further reveals Taylor Hawkins’ (and Grohl’s) about music or his drumming influences
Chris Shiflett) and the amazing songs wicked sense of humor, brotherhood, you became instantly inspired. His first
Grohl had created, had indeed become personality, and the drive that fueled musical inspirations came from the film
inseparable and undeniable. Taylor actually Wasting Light. In the Foo Fighters, and soundtracks of Star Wars, Superman, and
takes three brief one bar drum solos on on Wasting Light Taylor Hawkins became King Kong. But it was a chance encounter
the hit song “Rope,” and listen for that one of the most important and influential with Queen’s News of the World LP that
Alex Kluft
single cowbell note. But the real star of rock drummers of the 21st Century. For introduced Hawkins to his first drum
“Rope” is the arrangement of the rhythm an added sense of musical excitement hero, Roger Taylor. He often recalled
section on the verses. However, Wasting watch the band perform this entire record appreciating the many styles and the
Light wasn’t about drum solos and one hit live from Grohl’s studio on YouTube, it’s garage-band rawness of early Queen,
song, Wasting Light is filled with musical amazing. while admiring Roger Taylor’s deep groove,
and drumming highlights. I truly believe https://www.youtube.com/ cool drumsets and vocal prowess. Soon
Wasting Light is a modern rock (music watch?v=Xnmzins2Uow the young Hawkins was playing along to
and drumming) masterpiece. The driving Queen’s A Night at the Opera. Upon Taylor’s
groove of “Bridge Burning” and “A Matter On the heels of Wasting Light came brother’s insistence, Stewart Copeland and
of Time” are equal parts Copeland and the subsequent Foo Fighters recordings The Police soon came to the forefront for
Bonham. Listen to the rhythm guitars Sonic Highways, Concrete and Gold, and the young drummer. We can all hear (and
weaving around Taylor’s groove on “Dear Medicine at Midnight. Hawkins’ explosive see) the influence of Copeland’s unbridled
Rosemary.” Pay attention to how Taylor’s drum parts, unbridled energy, presence, enthusiasm, and cross-stick laden
clever drum parts are truly inseparable and creativity took excellent songs into the upside-down sounding grooves in Taylor’s
from the songs on “Arlandria” “These Days” musical stratosphere. With every recording drumming. In a BBC interview Taylor
and “Back & Forth.” Finally, the drumming and tour the camaraderie of the groove stated, “Those are the two guys (Roger
on “Walk” is heavy and hard, but it grooves became even stronger (if that’s even Taylor and Stewart Copeland) that shaped
hard too! possible,) the Foo’s became more popular, a lot of what I do when I play drums in a
The sheer strength of the songs on and Taylor Hawkins’ drum influence grew rock band.”
Wasting Light, producer Butch Vig’s deft even wider. His musical tastes and playing in early
production skills, and the record making Taylor’s sheer love of music and joy of bands included covering the popular

music of the late 70’s (and the rest of the
and 80s like Tears for band) grow into a force
Fears, Haircut 100, and of nature that became
The Clash. As were the most important
the popular bands rock band of the 21st
like Siouxsie and The century. However,
Banshees and their Taylor’s musical skills
drummer Budgie, The couldn’t be confined
Romantics and their to just one band.
energetic singer- Many members of The
drummer Jimmy Foo Fighters (Grohl,
Marinos, Van Halen and Hawkins, Jaffe, Hester)
U2. Of Alex Van Halen, played on Foo Fighter
Taylor states, “The thing guitarist Chris Shiflett’s
about Alex, is that he side-project Jackson
just couldn’t not swing.” United’s recording
Of U2’s Larry Mullen Harmony and Dissidence.
Jr. Taylor recalls, “He This record is an
Alex Kluft
just had a very creative undiscovered gem.

drumming style in the Shiflett is a very good
way he played songs.” singer and songwriter.
In an interview Jackson United leans
with Prog Magazine, slightly towards a
Taylor talks about even more modern punk
more of his musical drum and music talk and an inspirational sound with strong pop
influences. The influence of The Beatles memory for a fan. And when Taylor lit up sensibilities. Grohl plays on seven tracks,
came later. Speaking of The Beatles, Taylor any room or stage (large or small) with that and Taylor is tearing it up on five songs.
remarked, “The Sgt. Peppers album is big smile, you knew he was inspired, and This record is an outstanding way to hear
perhaps the first really progressive album. you were in for something special. the stark drumming differences between
That started it all, as far as I’m concerned.” In the Foo Fighters, we heard musical Hawkins and Grohl’s playing, but more
When Taylor remembered Rush’s Exit… soulmates Taylor Hawkins and Dave Grohl than that it’s just a really good record that
Stage Left he remarked, “I picked is highly recommended to any Foo
up so much from listening to Neil Fighter or Taylor Hawkins fans.
Peart. Taylor goes on to call Genesis’ Hawkins’ musical skills went
Seconds Out “just amazing,” and far beyond the drumset. Taylor
calls Phil Collins, “An incredible Hawkins was also a wonderful
drummer. Anyone who wants to be singer and songwriter as well.
good on the drums should check With the Foo Fighters, Taylor made
him out – the man is a master. his lead singing debut on an EP,
Taylor’s humility and self-effacing singing a cover of Cream’s “I Feel
attitude was refreshing, and his Free,” he even played piano on
knowledge of rock drumming and the song “Summer’s End” from
rock music history was deep and Echoes, Silence, Patience & Grace.
inspiring. Every interview with Live, Hawkins would occasionally
Taylor Hawkins reveals Taylor and sing lead with the Foo Fighters,
Dave revealing a new musical and when he did, the charisma of a
influence and another musical good front-man oozed out of him.
hero. What other rockers sing the But it was his ebullient presence,
praises of Abba and John Bonham and his grounded sense of groove
in the same breath. The Bee Gees, ecstasy behind the drums that
The Who, the O Jay’s, Yes, Cameo, made him a very special and
Prince… Their musical tastes unique voice in drumming.
know no boundaries which is so Perhaps the band that Taylor’s
refreshing. On 60 Minutes, when drumming and musical tastes were
Anderson Cooper asked Taylor best represented was his own
about Queen, Grohl remarked that band Taylor Hawkins & The Coattail
Taylor’s answer would take 60 hours Riders. This is shown on their three
(not 60 minutes.) But it wasn’t just outstanding recordings. Their
Alex Kluft
with the famous interviewers, and self-titled debut was a wakeup to

big stages; Throughout his life, anyone who thought that they had
a chance meeting with another a handle on Taylor’s drumming
drummer often resulted in a bit of and musical abilities. It displayed

his progressive musical roots and the Yes, of musicians expressing the anxiety that Taylor also led a cover band around LA
Genesis, and Rush influence to which occurs when the record button is pressed called Chevy Metal. Chevy Metal gigs were
Taylor often referred. Not to mention cover at a recording session) included guests that special events which often included special
art that paid homage to The James Gang were Taylor’s musical heroes like Brian May guest musicians.
Rides Again. With Coattail Riders, Taylor’s and Roger Taylor from Queen and Elliot https://www.youtube.com/
songwriting skills, singing, lyrics, and Easton from The Cars. “Not Bad Luck,” “It’s watch?v=2zw6T2EAghw
drumming are impeccable. The hook-up Over,” and “Never Enough” are the standout
between Hawkins and bassist Chris Chaney songs from Red Light Fever but there isn’t a One frequent guest was Taylor’s friend
(that started in the Alanis Morrisette bad song in the bunch. and drummer Stephen Perkins. In 2016,
years) is strong and telepathic. Guitarist Unfortunately, 2016’s Get the Money Taylor and Perkins actually played with
Gannin Arnold is a guitar whiz that can do will be the last Coattail Rider recording, original members of the Doors (John
anything. One listen to the tracks “Get Up I that really hurts to say because Taylor and Densmore and Robbie Krieger) in a special
Want to Get Down,” “Pitiful,” and “Better You his band had a lot to say and had huge tribute concert to the Doors Ray Manzarek,
Than Me” proves that in any other time, The potential. Get the Money is Taylor at his pictures of this gig are included in this
Coattail Riders would have been a primary funkiest and poppy-est. It features Taylor article.
Rahav Segev
major musical force to be reckoned with. Hawkins playing and singing with some https://www.youtube.com/
This live performance from Japan is very great female singers and songwriters watch?v=Ic03chr_kbM
special. such as Chrissy Hynde, Nancy Wilson, and
https://www.youtube.com/ LeAnne Rimes, with an all-star supporting In 2014, Taylor took the members of his
watch?v=DGC8g10LIX8&t=21s cast of musicians including Dave Grohl, cover band Chevy Metal into the studio
Pat Smear, Roger Taylor, Joe Walsh, Perry to record some songs that he had been
The second Coattail Riders recording Farrell, and Duff McKagan. I ask you to find working on. Apparently, the members of
entitled Red Light Fever continued a special another musician that has both country Coattail Riders weren’t available to record
musical brew that was (perhaps) a little singer LeAnn Rimes and (Janes Addiction’s) due to other commitments, so Taylor asked
more polished and owed a little bit more Perry Farrell guesting on the same record, the members of Chevy Metal (bassist Wiley
to a Queen influence than their “progier” not to mention the fact that he tried to Hodgden and guitarist Mick Murphy) to
debut. Maybe it was just a more evolved get singer Olivia Newton-John to appear record. The band and the record is called
record, but it was outstanding none-the- as well. Yes, Taylor’s musical tastes were The Birds of Satan, and was rounded out
less! Red Light Fever (a favorite expression diverse and special. by Foo Fighters Dave Grohl, Rami Jaffe,

discussed. However, his
one recording with Coheed
and Cambria shows Taylor
Hawkins in possibly his
most progressive oriented
musical setting.
He was brought in to
play drums on Coheed
and Cambria’s No World for
Tomorrow because their
very talented drummer
Chris Pennie (from Dillinger
Escape Plan) was under
Rahav Segev
contract elsewhere. This

is probably Taylor’s most
different recording of his
career. The production is
BIG, the drum sound is
appropriately MASSIVE,
and the music is immense
and cinematic. I can only
imagine that Coheed and
Cambria’s similar sound to
Rush with dramatic sonic
soundscapes that are similar
Pat Smear, and Yes vocalist (and boyhood this release has me thinking of some of
to Yes, must have really excited Hawkins.
friend) Jon Davison. At the risk of sounding the forgotten and great pop music from
Listen to how he sets up the different
repetitive, this is a really good band that the 90’s from Jellyfish, Toy Matinee, The
sections in “The End Complete” and his
deserved much more attention. Their music Grays, and Geggy Tah. Taylor had nothing
support of the romping “On the Brink.”
wasn’t as heavy as the band’s name might to do with these bands, but as a tribute to
Taylor was an excellent choice for this band
imply, and the songs are great. The music Taylor’s deep love of music, I mention these
and this recording. Again, I wish there was
is melodic, catchy, and indescribable. But (unfortunately) forgotten bands. Fans of any
more.
I’ll try… There are catchy and heavy Black of those bands need to check out KOTA.
Taylor was even commissioned to
Sabbath inspired guitar riffs that lead up to In his career, Hawkins also recorded with
complete an unfinished recording of Beach
very Rush inspired orchestrated sections, Coheed and Cambria, Eric Avery, Kerry
Boys drummer Dennis Wilson called “Holy
and Van Halen type soloing. Some musical Ellis, and Slash. With Avery, Ellis, and Slash,
Man.” I heard Taylor mention once that he
sections sound very Police-ish, and others Taylor’s drumming and musical approach
heard a whimsical Beach Boys component
sound like driving new wave pop such as was like the bands that we have previously
to Dave Grohl’s early vocals. I had never
The Tubes, The Vapors, XTC
or the classic rock of the
Faces. Some of the vocals
sound like The Knack,
The Cars, Alice Cooper or
maybe even Don Henley
or Rod Stewart. And yet,
amazingly, it all works
fantastically!!! I can’t think
of many other musicians
that could put together
music like The Birds of Satan.
I wish there was much
Rahav Segev
more.
In 2016 Taylor released
his KOTA recording. There
was no pomp, there was
no hype, just a musician
releasing some new
music. KOTA was powerful,
accessible, a little raw,
and fun. Which are four
words that you could also
use to perfectly describe
Taylor Hawkins. Somehow

thought of that, and it struck
me as odd. But upon Taylor’s
keen observation, I went
back and listened, he was
spot on. He had such an ear
for music which combined
with his flip flops, his shorts,
and his surf boards, made
Taylor the perfect choice to
complete Dennis Wilson’s
song.
In 2021, Hawkins formed
a band with Dave Navarro
and Chris Chaney called
NHC. Their recording is
due out in 2022 and will
obviously be a bitter-sweet
and sad occasion for all.
Rahav Segev
(Again,) we can only imagine
what might have been.
With the Foo Fighters,
Taylor was an integral part of
a legendary band. Outside
of The Foo Fighters, his side
projects, and the recording that they get from their music, they just showed his strong sense of groove, and
sessions that Taylor Hawkins found himself want to play, and have fun playing! some spotlighted his keen sense of creating
leading or participating in, gained from Taylor had a deep love for music, that perfect drum parts for good (or great)
his open musical attitude, and his one in a flame was ignited at a young age, and it songs. But they ALL had a musical thread
million musical skills. But they also showed never dulled. It seemed to me, that the that held them together, that musical
his musical consistency and his strength in drums were a part of that love of music, thread was the great Taylor Hawkins, a
choosing and participating in high quality but it was the music and how drumming fit talented musician that we will all miss
musical projects. Taylor Hawkins always into the music that really excited him. Some dearly.
impressed me as a musician who “just” of his musical outlets showed Hawkins’ Away from the stage and outside of the
wanted to live the dream of making and interest in a more progressive and drumistic recording studio, Taylor Hawkins was just a
playing music for a living. Some musicians musical side, some spotlighted his lesser- good “dude” from Orange County, California.
lean into the spotlight, and some of them known singing skills, some were based He was a surfer, a musician, a drummer,
avoid it. There are others who don’t seem to around Taylor’s songwriting skills, some and most importantly a father, and a loving
care about the attention or lack of attention husband. His smile showed
us that he knew he was
one of lucky ones, and we
are all lucky to have been
witness to his music. Those
of us who knew him are
the luckiest of all. Taylor
Hawkins is survived by
his wife Alison and three
children.
The entire Modern
Drummer family sends our
Rahav Segev
deepest condolences to
Taylor’s entire family, Dave
Grohl and the Foo family,
The Coattail Riders and
Chevy Metal families, his
close friend Chad Smith
and the Red Hot Chili
Peppers, and the rest of
Taylor’s musical family and
friends in this most difficult
time. Taylor Hawkins was
50 years old.

Taylor Hawkins
Remembered
Courtsey of Drum Workshop Jose Altonaga

As we at Modern Drummer and the entire drum and musical community continue to
reel from the untimely and devastating passing of Taylor Hawkins, we wanted to create
a tribute to this inspiring and energetic drummer who left us far too soon! We were
all influenced by Taylor’s humanity, love of music, and amazing drumming. In Taylor’s
memory we should all continue what he started: A deep love and appreciation of all
music and a love of drumming old and new. That’s what Taylor Hawkins and Modern
Drummer are all about.
-Mark Griffith, Modern Drummer Magazine
I’m still having trouble processing the news of Taylor. He was a tremendously gifted
drummer and musician and also a hell of a guy.
The last time I watched Taylor play, I sat behind him for almost an entire set with his
side band Chevy Metal. And Afterwards, (my
son) Max and I spent about an hour with him in
his dressing room and we talked about every-
thing from Rush to Jane’s Addiction to Yes.
The last time we spoke he invited me out to
see the Foo Fighters at Madison Square Garden
in NYC and I had to cancel at the last minute
because of thunderstorms that broke out in
PA…he said no worries and I’m always welcome
at any show. I assumed we’d just hook up on
his next time through. Of course, that will never
happen now, and I so regret not going to see his
smiling face that last time…
This loss is so shocking and devastating…
it’s really hitting hard. And I can’t help but think
of how many of my drummer friends we’ve lost
over the last few years. AJ Pero, Vinnie Paul, Joey
Jordison, Frankie Banali, Nick Menza, Pat Torpey,
Sean Reinert, Neil Peart & now Taylor Hawkins…
Time is precious and tomorrow is never guaran-
teed (for ourselves or our loved ones.) #CarpeDi-
em Rest In Peace my friend… #RIPTaylorHawkins
- Mike Portnoy

It’s always painful to lose a drumming brother, especially
well before their time to pass on. Taylor influenced so many
and was such a force behind the kit. I really admired his
always-passionate smile and vigor for the music, and for
playing the drums. RIP Taylor….
-Dave Weckl
Having met Taylor Hawkins just once, my memory is of how

his friendly energy lit up the room. Queen drummer Roger
Taylor said it best when he quoted his wife’s observation
that Taylor Hawkins was, “sunshine in human form.” Hawkins
was also a phenomenal drummer, responsible not only for
inspiring countless youngsters to play, but for reminding
everyone else about why we wanted to play the drums in the
first place. He will be missed.
-Peter Erskine
Taylor had been out to a couple Styx shows in LA and we also

hung out at Neil Young’s Bridge School Benefit. Before that
we happened to be seated next to each other at a U2 show in
LA twenty years ago. He was always a lovely guy and his tal-
ent on the drums was obvious. A terrible loss and our sincere
condolences to his family and the Foo Fighters family.
– Todd Sucherman
I didn’t really know Taylor, but I feel like I did. This is just such
a tragedy, he was such a bright light. He was such a great
player and a great singer too. As musicians and songwriters
he and Dave had so many different ways that they could go.
That whole band is a force of nature. They were so tight as a
rhythm section. I am just so sorry for his family, and the band,
it’s just awful! I wish I could have met him. I don’t know any of
his family or the guys in the band, but I feel like I do, because
we’re all in the same business of making music. I send my
condolences to everyone who knew and loved him.
- Steve Gadd
A great guy, ferocious drummer, wonderful spirit! You are

missed and will be remembered.
- Anton Fig
Unfortunately, I never got the chance to meet Taylor. I did

however get to catch him in concert a few years back. Wow!!
His energy was over the top. I remember looking up on stage
and thinking what a genuinely great time this guy was hav-
ing. His spirit seemed contagious to everyone around him.
He will be greatly missed. My condolences to his family and
everyone in the Foo Fighters camp.
-Billy Ashbaugh
I was so deeply sad to hear of Taylors passing. Although I only

met him once, he was such a big part of my life. When we
met he was so kind and loving towards me. He looked after
me. He was so happy to watch me jam. I already really miss
him. All my love goes to his family and friends.
- Nandi Bushell

Taylor Hawkins

Remembered
After growing up in Laguna Beach, California, Taylor made a name for
himself playing with Sass Jordan and Alanis Morissette, before joining
the Foo Fighters in 1997. His infectious energy and brilliant performances
have influenced a generation of drummers worldwide. We mourn the loss
of drumming great Taylor Hawkins and extend our deepest sympathy to
Taylor’s wife and three young children.
-The Remo family
I met Taylor at Wembley Stadium back in 2018. Being in the presence of

such a rock icon I was nervous but within seconds we were joking around
and having fun. He was such a dynamic performer, a fun-loving soul, and
a total badass behind the drums. I’m forever grateful for his inspiration!
-Mike Sleath
If you googled heart and soul of rock drumming, the result would be
Taylor Hawkins. What he played made him a great drummer. Putting
every fiber of his being into everything he played made him a legendary
drummer.
-Don Lombardi, Founder of Drum Workshop and DrumChannel.com
Few drummers simply attacked the kit the way Taylor did. Don’t let the
wiry frame, flowy blonde locks and endless smile fool you: Taylor meant
business behind the drums, and he hit HARD, man. Hard. But there was
still plenty of feel, finesse, and heart. You could see it and feel it from
the back of the stadium. I’ll never forget the time I spent with him in the
studio, and my first Foo Fighters show – I knew he was one of the greats,
playing drums BEHIND one of the greats. A monster talent, an entertainer
to the core, who loved his family, his fans and his music. We’re all so lucky
to have had him. Unforgettable, irreplaceable.
- Dennis Wolfe, Grammy-winning Producer, A&R Executive, Former
Drummer for The Exies
I met Taylor in 1994 when he was just starting out and he was with Sass
Jordan at a festival in Switzerland. I have jammed with him and seen him
over the years, and it was always a great time. He was one of THE nicest
guys ever, and one of the baddest rock drummers to ever sit behind a kit!
He was loved by all. That is a wonderful legacy. My heart goes out to Dave
and the Foo’s... and of course his family.
-Steve Lukather
Taylor Hawkins: There is no WAS in Taylor Hawkins. He is so alive in my

heart and mind with all the recordings, videos, and all the experiences I
had with him in person and on the phone. We shared many texts, voice
messages throughout the years. Guys like him LIVE ON.. They don’t die.
Just like John Bonham and Buddy Rich… It’s more than the drumming.
It’s way deeper than that… It’s the person playing the drums.. The spirit,
the soul, the vibe, the personality, and all the intangible things that you
can’t see. He is special and he lives on. He is super fan of drumming,
drummers, great music, and musicianship. He knows what’s real and
badass. Humble, Honest, Unstoppable, Undeniable and 100% Authentic.
That’s the way he lived his life on the drums and off the drums. I f**king
love that!
-Kenny Aronoff
Alexander Sowinski
of BADBADNOTGOOD
By Daniel “Ziggy” Laverde
JD Sumner

M aking a name for oneself as a modern jazz drummer can be quite tough. With such a long
and illustrious history, sounding fresh and innovative in jazz can almost seem impossible.
BADBADNOTGOOD, based out of Toronto, Ontario, has reinvented current jazz music. With their unique
take on modern and experimental jazz, the trio has established itself as a staple and fan favorite.
Alexander Sowinski, the group’s backbone and drummer, has established one of the most innovative
approaches in the genre in decades. Sowinski is well-educated in the subject and has spent the better
part of a decade honing his sound and skill. By partnering and working with numerous hip-hop artists,
Sowinski has cemented his place among superstars. Credited on the productions of artists such as
Kendrick Lamar, Sowinski is widening his audience even further. By collaborating with musicians
and producers such as Kaytranada and Frank Dukes, Sowinski has developed a unique sound that
combines elements of jazz, hip hop, and electronic music. This is also one of his contributions to the
modern world of jazz. Alexander is currently on tour with BADBADNOTGOOD supporting their fifth
studio album Talk Memory. The band is playing festivals and shows, such as Coachella, while also
touring across the United States. Sowinski takes us through his journey, how he started, and how he
was able to achieve such success.
MD: How did your passion as a drummer begin? What influences shaped you as a child, and how did they lead you to where
you are today?
Sowinski: I have two cousins that play drums, and I had a neighbor growing up that was a drummer as well. So, I suppose
I just saw people playing the instrument a lot. My dad was a guitar player in his youth, and then he got more into the
business world. He jammed a lot more when I was younger and would play small concerts and shows. I was more into the
drums than any other instrument. I started taking basic lessons with my sister’s piano teacher, who taught me very minimal
things on drums. From there, my parents bought me a little toy drum kit, and then slowly my dad would buy me new pieces
for my drum kit over the years. I think I started with a snare drum, then we found a bass drum in my cousin’s attic, and then
eventually I got a hi-hat stand. I was actually using an old exercise bike as a cymbal stand for a long time.
MD: Your journey with your band BADBADNOTGOOD took off while you were all in college for jazz music.
Sowinski: Yeah, my bandmates and I all met in the jazz program at Humber College.
MD: From there, your group garnered initial notoriety by performing jazz interpretations of songs by hip-hop group Odd
Future.
Sowinski: I met my current bandmates Matt Tavares and Chester Hansen in school and caught a good vibe. We put
together some music for this project where I had to play a bunch of material for the drum teachers in the jazz program,
and we thought it would be fun to do something contemporary. We played some Odd Future songs, and just jammed and
improvised on a bunch of different hip-hop material. It felt right trying to create something in a totally different realm. We
were playing something that was exciting and fresh for us, in contrast to the older music that had a kind of workshop-type
feeling when we played it. We just put together these little medleys of Odd Future and Gucci Mane songs because that’s
what we’re really into and we presented that for the school. That lead to filming a live version of the medley to put on
YouTube and it went viral.
MD: It took off quickly, didn’t it?
Sowinski: The perceived YouTube internet world happened quite fast. But the progression of doing these kinds of covers,
playing shows, opening up for different artists in Toronto, and becoming a band with original material, was a long process
that took time. We didn’t expect to have anything like this happen because we were all involved in different bands and
trying to work on our craft as performers. When the video went viral, I remember being fascinated by this wave of internet
music fans who were excited by this experiment. We eventually just kept doing more videos and covers and that lead to,
“Why don’t we try to make a proper album and write material of our own?” So, we focused full-time on that and dropped
out of school.
MD: By virtue of your work on the covers, you guys attracted Tyler the Creator’s attention, correct?
Sowinski: Tyler showed us a lot of love. I can’t remember the entirety of how it all happened but essentially, he reposted
us on Twitter and we started chatting with him. He was very supportive of us taking solos and playing his songs as
instrumental covers. We put out a free mixtape with us playing versions of Flying Lotus, J Dilla and even a Legend of Zelda
medley. It was just random, fun bits of music. We were trying to play different types of pieces that were contemporary, not
necessarily jazz, because in school people are very focused on this kind of one-lane style of music, I think we wanted to
“rebel” and explore elsewhere. Tyler was very supportive of that. So that was a huge help in creating some type of existence
for this little project.
Ivan Narez-Hurtado
MD: It must have felt good to have that support.

Sowinski: Yeah well, he also was a really big inspiration in terms of the DIY movement in hip-hop. At that time, he was
making his own album covers, beats, recording all his raps, and flexing his talent. We wanted to have the same approach
to recording, mixing, and producing all our performances in our own style. That wasn’t necessarily the major trend that it is
now in terms of creating content.

MD: BADBADNOTGOOD has an impressive number of hip-hop by the name of Kish, who is also one of the biggest sneaker collectors
collaborations. Among those collaborations, Ghostface, MF Doom, in England, introduced us to Lex Records. At the time, DOOM was
Kendrick Lamar, and Mac Miller stood out to me. How did things signed with Lex and working on the JJ DOOM project. The Lex crew
come together working with Kendrick Lamar? came to our show and afterward they let us remix “Guv’nor” from the
Sowinski: We met Kendrick at Coachella in 2016. He told us he really JJ DOOM album. Towards finishing up Sour Soul, Lex picked up the
liked our sound. I’ll never forget this because he said to us “When record for release, and because MF DOOM was signed to them, he
are we getting in the studio together?” I replied, “I don’t know? Any was featured on the track “Ray Gun.” After we had played some shows,
time man.” I was nervous! We just started sending him samples and worked on music, and met DOOM in person, I am so grateful for my
beats. The “LUST.” track is a sample we made (funny enough) with experience and how much his work has influenced my life. I love you
Kaytranada at our studio in Toronto. Kay was just singing into an DOOM, Rest in Peace.
Auto-Tune processor which we sampled and made a song out of it. It MD: How did you hook-up with Ghostface Killah
was a rad experience because Dave (his creative manager) was kind Sowinski: We played our first show back in 2011, that’s when our
and showed us appreciation for our ideas. To work with my hero and manager introduced us to Frank Dukes. Dukes started coming over
one of the greatest artists in music is a true honor. to our jam space and would write songs with us. He had done a lot
MD: How did you meet Mac Miller and start working with him? of beats, sampling, and MPC programming, and he was getting into
Sowinski: We met Mac while on tour in Belgium. He was super nice songwriting. Dukes had the idea to do a full project with Ghostface.
and had a bright energy. We had been sending Mac beats and he We drove out to New York to record instrumentals with him at
recorded a bunch of them. I think they were recently leaked on the Dunham Studios. From the viewpoint of clearing samples, this was his
way out of lawsuits and clearances. That’s
when we kind of got our first experience
with analog recording and getting these
juicy vintage sounds. We fell in love with
the process and that has informed how we
record to this day.
MD: It truly opened your eyes to the world
of recording and all the possibilities and
sounds you can create, correct?
Sowinski: Absolutely. We found comfort
and ease with the process of recording to
tape. It allowed us to let the music breathe
and accept the way we played without
thinking of edits or ways of changing the
music. All the stuff that you can do on
a computer. There are always moments
that could have been tighter, but the
energy resonated with us a lot more than
worrying about a small detail of rushing
or hitting the wrong note. The sound also
helped us connect to records we love and
listen to from the 60s and 70s.
MD: So, the approach flowed naturally and
was “freer?”
Sowinski: Yeah, that was really exciting to
us because we didn’t think we would be
able to get sounds from the ‘60s or ‘70s.
Then we began to understand that it’s not
just about having a vintage or a throwback
sound. It’s also about loving the way that
Jacob Constintine
the instruments are captured on tape.

MD: Are you at a place now where
you have more freedom to spend time
tweaking sounds and figuring out what
you want?
Sowinski: Definitely. It helps to have
an understanding of the composition
as an entity and what you’re trying to
internet. The song that I have a proper credit for is a Frank Dukes achieve. I think technology has caught up so much to where the most
production that sampled my drums. I have massive respect for where professional digital tools are more accessible than they have ever
he was pushing his craft, ideas, and artistry. Rest in paradise Mac. been.
MD: How did the collaboration with MF DOOM come about? For example, if you’re a vocalist you can have a professional mic,
Sowinski: During the making of the Sour Soul record, we went to play an autotune chain, and have the same sound as any major rapper,
some shows in London. A friend of our band manager, a gentleman whether it’s the Migos or Young Thug. I think you can achieve certain

things like that with instruments too. engineer, Nic, is fantastic. He took so much weight off of everything.
But I have realized that I really do love a unique studio, console, That allowed us to go in there and track and listen back with
microphones, and tape machines. I love just messing around with confidence.
them and not having any computer kind of augmentation to the When the sessions were ripping, we hit up Karriem Riggins who is
sound. To me, it’s just fun and exciting. We’ve worked with both one of the best live drummers and producers of all time. He played
digital and analog, and I just love the music existing as this unique snare drum with brushes as well as his hands on the track “Beside
form of analog recording. You have
to commit to it. It’s very intentional
and so physical. So many things
were touched, turned on, moved
around, cranked, pushed, plugged
in to get a specific sound, rather
than just clicking around on the
computer to create.
MD: What’s your approach to your
live sound?
Sowinski: Currently we work with
a fabulous FOH engineer Chris
Koltay who’s helped us achieve
a full and heavy sound as a jazz
band. He’s got a great approach
using ribbon microphones and
letting the instruments breathe
like they would in a studio. Koltay
also mixes with his own effects so
he can add dimension with reverb
and delay to create a show that is
unique every night.
I’ve been playing my Canopus
Neo Vintage M-1 kit on tour and
I’m in love with how these drums
sound. Coming from a “vintage
drums only” nerd-standpoint, I
think these drums are the bee’s
Jacob Constintine
knees. They explode like 60s
Gretsch drums but are so well
made you can tune them in a wide
range. I’ve got an Elvin-style setup,
and it feels dope!
MD: Tell me about Group Climate.
Sowinski: Group Climate is an open
project of mine that started with
recording solo drums and making drum breaks. I’m obsessed with April.” He picked it up after hearing it once and then we tracked it
how drum breaks have been so influential in hip-hop, house, R&B, and live with him. Terrace Martin also came through on the track “Talk
drum ‘n bass. I love finding the original recordings and looking up the Meaning.” We taught him the basic structure of the song. Leland was
drummers who played these incredible breaks. A good drum break or playing tenor while Terrace was playing alto, they shared one mic and
sample can really liven up a record in terms of soul and vibe. My goal played off of each other. Moments like that happen fast and without
is to create ideas of my own, record them all analog, and share them hesitation.
with people so that they can put them in a sampler, create, and rip! MD: What is one aspect of the record that stands out to you or that
MD: What was your overall (group or individual) approach and you’re proud of?
attitude coming into the recording of Talk Memory? Sowinski: I feel like I’m most proud of the experience I got to have
Sowinski: Talk Memory was quite a bit different in the sense that a lot with my bandmates and sharing energy tracking with our idols.
of time has passed since the prior record IV. For one, we went back to Having these heavy jazz players come through was a very new
being a trio which meant jumping around on instruments a lot more. experience. I learned how incredible it is to play all together in the
We wanted to approach things more old school, write all the songs, same room. Living old school and in the moment.
rehearse them, and get them to a point where we’re comfortable. We MD: Everyone played live together and just jammed?
didn’t approach it with the mindset of writing and recording it at the Sowinski: It’s funny because it got a bit tighter as the days went
same time, which is what we’ve done in the past. Sometimes, you get on. That happened because we got more comfortable and we were
lost in the in-betweens of: Is the song cool? Or, do we have the right using more studio time, but that also just happens unconsciously. We
sounds? would talk about things and try a take or two. But there really aren’t
We got to work at Valentine Studios in LA which is just an amazing that many takes of any of the material. I had a great time and I think
spot. It’s super old school and we did the whole record to tape. The it’s cool how it turned out. I love the collaborations we got to do.

Personally, it was just a beautiful experience. the session. When we tracked it, we did two takes. There was no
MD: I liked the opening title track “Signal from the Noise” in particular. thought we just played it. Karriem Riggins is an absolute master. I
The drums are very jazzy, washy, and psychedelic but also calm in was obviously intimidated, my memory and recollection of the whole
certain sections. You are creating great support. How did that song experience was to not overthink playing with him and be in the spirit.
come together? Let it flow and improvise, but also try to lean with his sense of time
Sowinski: That song was something that Chester started to improvise and feel. He was creating these incredible sounds and rhythms just
on bass during the previous tour. He would just take a moment to do from a snare, so I had space to converse with him on the kit. Right
a bass solo before we would play a song and he would play this heavy after we tracked Karriem said, “that was beautiful man.” Much love to
bass-line with chords, it was very distorted. Honestly, we didn’t know the legend Karriem Riggins.
where it came from and why he approached it that way. It was my MD: Did you have a good feeling about the record sonically when you
favorite part of our show. We ended up adapting it into “Signal from finished it?
the Noise.” Sowinski: The album went through a couple of stages. We had some
I feel very fortunate to have the relationship I have with Chester. mixes, and then we sent out about five songs to get strings added
We’ve been playing by Arthur Verocai. He wrote
together for a decade and did all the arrangements
now and he’s just the
most brilliant and
supportive player. Even Drums:
Alexander’s Gear list Cymbals:
on his old 2008 computer
in Finale. Then he booked
the sessions and did all the
if I’m pushing the tempo Canopus Neo Vintage M1s Istanbul 30th Anniversary Hi Hats 15" string recordings live while
up and down, or it gets a 5.5x14 or Zelkova 6.5x14 Snare Istanbul 30th Anniversary Crash 19" conducting them. When
little sloppy, he’s still right 8x12 tom Istanbul 22" Tradition Jazz Ride we got the tunes back with
there with me no matter 9x13 tom the strings added, we were
what. That’s kind of what 14x14 floor tom Drumsticks: blown away by what he had
“Signal from the Noise” 16x16 Floor tom Headhunters Hickory Classic 5A composed for our songs.
is all about, supporting 14x18 bass drum The whole idea started
him with some flavor and while we were sitting around
energy and allowing him for a while one day. We just
to rip and take us on the ride. thought some strings would be really nice on a few tracks. Arthur was
MD: I love your snare sound. What goes into creating it? down for the idea, and then he hit it. He just sent us the songs with
Sowinski: We had recorded at Valentine once before and the the strings on them. We didn’t hear the arrangements prior, which
engineer Nic (who’s also a fellow Canadian) put a couple of mics in made it special. We were all pretty excited about the music we had
some different spots. One mic was under the ride cymbal… All the recorded, but then when he added some of his string parts, we had
mics there are originals from the 60s from when the studio was built. the sense that there was something really different happening now.
Valentine closed down in the eighties for a bunch of years, but The music expanded and grew. We couldn’t have foreseen what it
Nic reopened it a few years ago. All of the gear was still running, and would’ve sounded like with strings, or the melodies he came up with.
the room also sounds fantastic. That snare sound comes from great He did some pretty cool avant-garde rhythmic sections too. It’s pretty
mic’ing, engineering, pre’s, and an amazing console. It’s definitely one dope.
of my favorites I’ve ever got on record. It’s just thick and juicy and the MD: How do those string parts translate when you are playing those
snare sounds dope. It’s got a more 60s 70s kind of tone. It’s not super songs live?
thick and wide, but it’s still really crunchy and deep. For a lot of the Sowinski: Well, obviously we’re not touring with a string section just
records, I love to have that tone. yet. That’s the dream, but as we are putting everything together, and
MD: Do you experiment with the engineer when you’re making an getting back into touring, we’re making it work as a four-piece. We are
album, or do you trust their approach? adapting the string parts to the instruments that we have on stage.
Sowinski: I love to experiment and get nerdy and technical but with Our friend Felix, who’s playing keys will cover some of those
Nic, he led the charge. Usually, I listen to a recording as a reference melodies on the Fender Rhodes or a Mellotron. That will kind of hint a
and think, “Okay, this is what we have right now.” But I will make sure little string sound and give the crowd the essence, but obviously, it’s
our ears are not feeling totally “encapsulated in our sound” by playing not the same. It’s a bit more vintage and freakier that way. I suppose
other records. But with this record, we didn’t even have to do that. It with all the string arrangements that were added, we are just picking
was just like, boom, sounds great. up the melodies and incorporating them as much as we can.
MD: What drums did you use on the record? MD: How has the reaction been from the crowds that you’ve seen?
Sowinski: It was a vintage 67 Ludwig kit. Funny enough, the Sowinski: It’s been so great to get back out and play shows. The
Anderson .Paak and Bruno Mars project Silk Sonic filmed a music music and the band feel charged up! We’re working with a friend
video of them playing in a studio. That’s the studio where we named Sylvain, who’s a live film projectionist. He is touring with us
recorded and that drum kit he’s playing is the same kit I used. with 16-millimeter projectors. He’s manipulating the film that he’s
MD: I particularly enjoyed the track “Beside April” How did that song shot and developed throughout the show. I cue sections to him to get
come together? What was your mindset playing alongside Karriem the timing right between visuals and live improvisation. We’ve never
Riggins? done anything like this before. I think the pairing of the music feeling
Sowinski: That song in particular was written by Chester. He had fresh with a new visual element creates something more than just
been writing these more proggy style songs that have these flowing us playing our instruments. We are big fans of cinema, so what we’re
sections that are followed by a big unison riff. That’s kind of one of his doing is live scoring our own film with variations in the music and
amazing creations. There wasn’t that much input. video every night.
It was honestly, very special because Karriem came through for Check out Alexander’s Modern Drummer
profile page at moderndrummer.com
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Julien Barbagallo:
Touring drummer for Tame Impala
Story by Daniel “Ziggy” Laverde • Photos by Felipe Laverde

M
aking a living performing experimenting with new sounds. essentially making him a one-man-
and creating music is one With the release of his newest band.
of the most challenging album Les Grands Brûlés, Barbagallo Apart from producing and
undertakings a drummer faces, all expands his own sound and creates creating his own music, Barbagallo’s
drummers aim to play at the peak something fresh. We hear more most famous accomplishment is
of their craft. Julien Barbagallo of an electronic psychedelic disco touring and performing for nearly
exemplifies what determination and sound on songs such as “Debout.” a decade as Tame Impala’s full-time
a positive attitude can accomplish. Additionally, we hear his range and drummer. Starting with the Lonerism
Barbagallo is currently on The Slow dynamics throughout the album Tour, Barbagallo was chosen by
Rush Tour with Tame Impala and is shifting to a softer and smoother Kevin Parker and has never looked
expanding the boundaries of what a vibe. For example, in the song “La back. While Parker does create all
drummer can do live while serving to Paix,” we hear more of an acoustic his records on his own, Barbagallo
counterbalance the band’s massive and less synthy sound. Being the interprets the songs in the live
and modern psychedelic sound. producer of his albums means that performances for the masses to
Barbagallo is a multi- he gets to employ an arsenal of his hear and see. I got the opportunity
instrumentalist who has five studio own production techniques. One to see Barbagallo play live, and it
albums to his credit: Barbaghamon, of the more unusual aspects of his was one of the most life changing
Les Grands Brûlés, Danse dans les approach is the modest gear setup experiences I’ve ever had from a
ailleurs, Grand chien, and Amor he employs when creating and live performance. Tame Impala is
de lonhhe. He is pushing the producing new tunes. Additionally, currently on tour in Europe and the
boundries of French music while he serves as his own vocalist, show is a must see.
MD: Let’s discuss your album. Les Grands Brûlés is very smooth and guitar and start strumming. With this album, I said to myself, this
synthy. How did the album and production come together? time you’re going to compose on a keyboard, and you’re just going
Julien: The album was actually made in two different parts. The first to try and see what happens and where it takes you. The keyboard
few songs were recorded last. And the other five were previously naturally takes me somewhere else creatively. Usually, I compose in
released as an EP. I produced the entire album. The first four songs a more traditional way laying down a guitar, drum, and bass track,
were mixed by Kevin Parker of Tame Impala, and the rest were mixed then I add a bit of keyboards here and there. But it was very fun to
by me. Sonically the listener can hear a different vibe going on do it with the keyboard first. I think that’s something I’m going to
between the two batches of songs. When composing the first four explore a bit further in the future.
songs, I told myself I wasn’t going to use any guitars because that’s MD: You are a multi-instrumentalist, but did you begin your musical
what I usually do. Usually, when I write, I just pick up my acoustic career on the drums?

Julien: Yeah! That’s what I started studying when I was a kid. I was As the projects got more and more refined, I ended up becoming
in a drum school when I was nine, and I graduated when I was a professional musician when I was 24. I’m very, very, lucky. I was a
about 20. So yeah, that’s my main instrument and then the rest I professional drummer in France until I was around 27 or 28 years
just picked up by teaching myself bits and pieces. old. Then, I started playing with a French band called Tahiti 80, they
MD: Do you have any drum heroes that influenced your playing had a big following in Asia. So, I started traveling internationally
style? with them. That lasted for a few years until I met Kevin Parker in
Julien: My very first hero was, Phil Collins. I started listening to early Paris in 2011. The next year he asked me to join Tame Impala, and
Genesis albums before it turned very pop. It was very interesting that was my latest move.
to me to hear a lot of weird, odd-time signatures and things like MD: How did you and Kevin Parker start collaborating?
that. That’s really what appealed to me. Even though I was quite Julien: We started a project with just the two of us called Relation
incapable of playing such things at the time, it was very inspiring. Longue Distance, which means long-distance relationship. We
Later on, I started listening to more jazz records and I discovered just started jamming, it was really fun. At that time Kevin was
Elvin Jones. That was a huge discovery for me because it was pure trying to explore triggers, new sidechain techniques, and sounds.
energy. To me, it was pure freedom, and that liberated my way of So, we started with him running a synth to my drum kit and we
playing quite a lot. started experimenting from there. Eventually, he told me that he
MD: When did you start playing live? was looking for a new drummer to join him in Tame Impala for the
Julien: I played my first live shows when I was about 12 or 13 years Lonersim album and tour. He asked me if I was interested and I said,
old with local bands. I’m from a little town in France called Albi. yes! I flew to Australia and started rehearsing with the boys. That
The music scene was quite active over there. There was a lot of was the beginning of this great adventure. I think he was testing me
musicians, and I met a lot of people who shared a similar musical that whole time. We were just jamming together, it was like a big
taste as myself. audition. He was basically seeing the connection and how I would
We would bond over sixties British music or even Britpop from translate his ideas. I think he wanted to see how close I could get to
the 90s. We started putting bands together and moving from one his own drumming, because everyone knows Kevin is an amazing
project to another, and I just never stopped playing in bands. The drummer who drums on his own records. I think the closer I got to
further I went, the more professional the bands got. his drumming approach, the happier he was.
MD: Were these bands mainly playing covers at the start? MD: I want to ask you how you interpret the music from The Slow
Julien: No, we were always playing original songs. I started writing Rush in the live shows. I’m sure some tracks would be impossible to
and composing my own songs at around 14 or 15. So, very early on perform live in the same manner as they are on the record. How do
I started playing my own material. It was fun and I learned quite a you interpret those parts?
lot. I also wasn’t always the drummer in those bands. Sometimes Julien: When I heard The Slow Rush, I was like, oh my God, how am
I would be a guitar player or even a lead singer. At that time, I was I going to do this? How am I going to play that? I started freaking
trying to have fun and imitate my heroes. out. I thought that it was impossible. Once we started jamming

and I was talking to Kev, I realized while now. They sound great and are
that he’s very good at getting pretty versatile.
you to the essence of the groove. MD: When producing your own
There happens to be grooves on music, what does your gear and setup
the record that were chopped up consist of?
and edited. Those parts couldn’t Julien: I have an Apogee Duet and
be humanly played the way they a couple of microphones. I’m the
are on the record. Kevin knows opposite of a “gear guy.” I have built
that. It’s pointless to expect me to up my gear very slowly. But anytime
play it the same way as the record. I feel limited I go out and buy new
For example, in the song “Breathe gear, I’m learning. I’ve got better
Deeper,” I tried to sound as close microphones and proper speakers
as I could to the original beat at now, whereas before I was just using
the very beginning, it’s complex. headphones. It’s a long process.
But we realized when we were MD: What kind of drums do you use
playing altogether that it sounded for your solo projects?
a bit busy. When you play live, Julien: I use the only drum brand
it’s different. Kevin would tell me that’s made in France. They’re made
things like, “Maybe we just keep by ASBA. They were started in the
this open hi hat here and we take 1940s or 50s. Their business was
that roll out.” We rebuilt the groove interrupted for some reason. Today,
by taking the musical components there are a bunch of young guys who
and putting them in a different brought back the brand and started
order to create some “air,” but the manufacturing drums again. They’re
groove is essentially the same. really cool good quality drums. They
Unless someone is super tuned in, have quite a wide range of drum kits. I
they wouldn’t think, oh my God, that sounds so different! Instead, personally have a very small kit because I wanted to study jazz again.
they would (hopefully) think, yeah that sounds about right. They’re fun to play and it’s good to support the French.
MD: When you play live, you switch between two kits. One is
Check out Julien’s Modern Drummer profile
electronic and the other acoustic. Was it difficult to play the different page at moderndrummer.com
songs with their original sounds?
Julien: That was the whole idea behind having an electronic kit. The
goal was to have the exact sound we wanted for each song that I
was going to play. That’s the reason for the electronic drum kit. Since
I joined the band, Kevin has been on the quest of trying to find the
right drum sound, which is extremely hard to do live. At the moment,
we are as close as can be. On “Mind Mischief” and a few other songs,
we are using the sounds from the records. It’s amazing to be able
to have those sounds on stage because they’re so produced on the
record. If you wanted to achieve the same sound from a normal drum
kit, it would be impossible. Once we started working with the second
kit (the electronic one,) it opened up many possibilities.
MD: I noticed that during the live show, the acoustic drums
sometimes have a phaser/flanger effect. Do you use samples for
those sounds?
Julien: That comes from front of house. The reason why I still have an
acoustic kit on stage is because the electronic set is great for things
that have steady grooves where there’s not too much expression or
velocity. It’s still hard to master that on an electronic kit. For songs
like “Apocalypse Dreams,” it would be too hard to translate them onto
an electronic drum kit. You need the acoustic one to give you the
freedom to express those kinds of sounds.
MD: Yeah, it’s good to have both.
Julien: You’re on a different mission depending on which kit you
are on. I’d say that the electronic one is for more groovier highly
produced patterns. The songs that I use the acoustic kit on, are the off
the leash psychedelic tracks.
MD: What kind of drums do you guys use for the live shows?
Julien: We’ve been using C&C drum kits for a while now, but we
don’t have an endorsement. Before that, we used an old Ludwig kit
that belongs to Kevin Parker. That was the original Tame Impala kit.
But now, we use the two C&C kits. That’s what I’ve been playing for a

Michael Stasiak
of Widowspeak
talks about their new record The Jacket
By Danny Laverde
W idowspeak is undeniably a very nostalgic

band. With a feeling of 60’s psych pop
Americana the band hits a unique niche in
modern music. The creation of Molly Hamilton
and Robert Earl Thomas, Widowspeak sets a
new and familiar tone on their sixth studio
album entitled The Jacket. This album propels
the group into further perfecting of their sound
with beautiful soft melodic voices and dancing
guitar melody’s. Their sound is tied together
with an antique sounding drum kit that
drives the songs through the album. With the
return of founding drummer Michael Stasiak,
Widowspeak has returned to the raw dark roots
of their sound.
The Jacket evokes images of a bygone era of
Western cinema. The album’s opening track,
“While You Wait,” has the power to transport
listeners to another world. Acoustic drums
played with brushes bind the mellow vocals,
light guitar melody, and bouncy bass line
together. This song piques your interest in the
rest of the album. Songs like “Unwind” have
a unique energy and groove. To help keep
“Unwind” in motion, choppy drums accompany
a psychedelic keyboard backdrop. When the
chorus hits, the drums create a very steady
kick, ride, and snare groove that follows the
big sweeping guitar. Overall, The Jacket is a
fascinating album, Stasiak’s simple drumming
lends a hand in pumping and supporting
Hamilton’s vocals and Thomas’s guitars. Modern
Drummer got the chance to speak with
Widowspeak drummer Michael Stasiak about
The Jacket.
MD: How did you come into making this

record?
Michael: We made the first record together and
I went on a couple of the tours, then I decided
that that wasn’t the life for me. So they went
JD Sumner
their own way and kept on making records.

Then they moved back to New York in March
of 2020 after they finished the album Plum. We
started getting together to mess around and

play, and it had the same feeling from when we started the band. which looked like the bell had been taken off with a can opener.
MD: How did you approach the writing process for The Jacket? I just let Homer direct me. I gave everyone a lot of latitude to tell
Michael: They had all the demos ready and then we deviated from me what they liked and didn’t like. Recording was a really natural
there. For example, the song “The process with almost no overdubs. I
Jacket” had a (kind of ) Paisley wasn’t punching anything in.
Underground or Rain Parade MD: What did you think of how
kind of feel. It even had some (Widowspeak touring drummer)
REM elements. It was a little drier Andy Weaver interpretted your
and a little more structured the drum parts in the live shows?
way that they originally demoed Michael: I went to both
it out. We took the whole thing Widowspeak shows here in New
apart and then we put it back York and they were so good.
together when we were in the Sometimes it’s nice to be a fan of
studio. the band, I’m a huge fan of this
MD: How did you get the drum version of the band. Andy does
sound on the record? an amazing job because he takes
Michael: The record was made a lot of parts where I thought “I
with producer Homer Steinweiss. just barely hung on to that” and
He played drums with Amy he really runs with them. He does
Winehouse, Sharon Jones and backup vocals too, which is great.
the Dap-Kings, and that neo-soul
crew. He was amazing because Widowspeak is currently touring
I walked in, and he said, “What the United States with Andy Weaver
drums do you want to use? What playing drums. Weaver played
are you thinking for cymbals?” I drums on the band’s fifth studio
just said, whatever you want. We ended up doing the whole thing album, Plum, and is a terrific addition to the group. Live and on
with an odd assortment of drums. We made a kit of some pretty their recordings, Widowspeak has a great chemistry and energy.
busted cymbals, tiny paper thin 12-inch hi hats, and this crash ride
Check out Michael’s Modern Drummer profile page at moderndrummer.com
JD Sumner

T here have been a few new LEGENDS books in the last year:
Danny Seraphine, Kenny Aronoff, Peter Erskine, and now Steve
Smith. In an article called Behind the Legends in last month’s
is to NOT discuss any of the same subjects that have been talked
about in any older interviews, especially since the old Modern
Drummer interviews are also included in the LEGENDS book, side-
Modern Drummer, we introduced what makes the LEGENDS process by-side, with the new interviews. Then, I was informed that Peter
different, and what makes the LEGENDS books different. Since no Erskine was going to do a LEGENDS book. This was definitely going
“introduction” to any legend should ever be needed, I wanted to to test our new LEGENDS modus operandi and process.
take this opportunity to further explain to the readers what we are Peter Erskine had already been interviewed many times for
doing with the LEGENDS series of books. Modern Drummer, he had written several outstanding books, done
Starting with Danny Seraphine, we devised a new modus instructional videos, had a terrific on-line presence with things like
operandi that we knew would work very well for LEGENDS. For each his Infinity Drummers series, he teaches as USC, and he was going
LEGENDS book there MUST be an overwhelming amount of brand to start writing a new Modern Drummer jazz drumming column.
new content! When it comes to LEGENDS, my favorite term is “deep What else could Peter have to say? As one of the LEGENDS team said
dive,” that is our goal. My first goal with LEGENDS interviews to me, “How many times can you talk about a specific
drum part to a song, or what kind of snare drum you
like?” EXACTLY! We had our work cut out for us.
To begin, I re-read and took notes on every one of
Peter’s previous interviews for Modern Drummer. Then I
read ALL of his books, and I watched ALL of his videos.
Along the way, I made notes about subjects that (as a
reader and a drummer) I wanted to hear Peter further
expound upon. I even searched some on-line forums
to see what people were saying about Peter and what
P ET E R they wanted to know about him. I asked Peter if there

was anything that he had never been asked about,
or hadn’t talked about publicly? Lastly, I researched
E R S K IN E
Peter’s career to find any interesting dark corners that
hadn’t yet been explored.
This process took a while, Peter loves to talk and
he always has a lot to share. As we all know, Peter has
had a very long career that has spanned different
genres and cities, several well-known bands,
several musical legends, and many not-so-legends.
Therefore, for those of you that have been wanting
longer interviews, you’ve come to the right place!
Thankfully, there aren’t ever any space constraints in
LEGENDS. But what else could Peter possibly discuss,
and what hadn’t been discussed yet? Amazingly,
I came up with a huge list of new and unexplored
subjects and questions for Peter.
Through my research, I learned that Peter’s father
was a psychiatrist. I had always thought that Peter
talked about music making and being a musician in
80 pages of extensive and new
in-dep th interv iews very “psychological” terms, I wondered if there was
e Record ings a connection there? I had also always wondered
Exclusive Erskin
t,
about those Stan Kenton camps that Peter
EXCLUSIVE Pictorials of Weath er Repor
PHOTO Peter And Friend s, The Early Years attended when he was a young kid. What does a
SECTIONS!
Peter’s analysis and insigh ts on nine-year-old do at a jazz camp with a bunch of
40 + pages of drum transcriptions high school students and professional musicians?
Digital Download Component Why was Peter chosen to join Weather Report,
why did Jaco give Peter the “thumbs up?” There

were literally HUNDREDS of great drummers on the scene at the
time, why Peter Erskine? (I found out that Peter had wondered Check out the MD’s newest
that too.) I had also heard Peter mention the Joe Zawinul “drum
lessons” several times, but I wanted to know more about them, Legends release: Steve Smith
what did Zawinul teach him?
Then there was Peter’s new idea of Infinity Drummers from DI
DOWGITAL
Legends
CODE NLOA
his Facebook page. That was a cool idea that Peter had conjured
INSI D
DE
up during lockdown, and something that he and I had talked

A LOT about. There were some very interesting names on his
list, but he purposely restricted himself to only a few sentences
ST EV E
about each drummer. (I hated that!) Thankfully, he came up with SM IT H
a few drummers that I had long-time drumming “obsessions”
with: Donald MacDonald, Bobby Ramirez, Frankie Dunlop, Paul
Humphrey, and Alvin Stoller. (I loved that!) This would be our
chance to hear Peter talk extensively about these interesting and
lesser-known drummers. I had also wondered why Peter had
never been involved in any of the Burning for Buddy projects.
I knew that Peter had some great Steely Dan and Boz Scaggs
stories from his time on those gigs, and that led us into some
terrific Jeff Porcaro observations. I had never even thought
about asking Peter about Jeff. And who in the world could draw Brand new content and interv
iews
Insight, analysis and drum transc
comparisons between Paul Motian and Jeff Porcaro, besides Peter The Fabric of Rhythm drum solo
riptions
recordings
MD archive of Steve’s cover/featur
Erskine? Photos/analysis of Smith’s drums
e interviews
ets through the years
It was also very interesting to hear Peter reflect on his career,
the mistakes that he’s made along the way, and how some of
them are almost unavoidable. As always, I asked Peter about the
importance of making mistakes in music, and we talked about
Other Legends in the Collection:
developing a touch on the drums. (I ask all of the legends about
those two subjects.) We also talked about one of Peter’s favorite
Neil Peart • Alex Van Halen
subjects, the art of accompaniment.
In the transcription section of LEGENDS, you’ll also find new Chad Smith • Danny Seraphine
interviews of Peter talking about specific sessions and songs
throughout his career, as well as 40 new transcriptions of those Kenny Aronoff • Peter Erskine
exact songs and sessions. In LEGENDS we don’t only help you
figure out you WHAT Peter played, but we also ask Peter to tell
you WHY he played what he did.
And then there is equipment. Peter talks about the different
drums that he has played throughout his career. There is a
completely new interview of Peter talking about (what I like to
call) his “gear evolution.” We talk about Slingerland, Yamaha, Drum
Workshop, and Tama. We also talk snares and cymbals as well.
The LEGENDS interviews are not your typical interviews. Peter
and I took A LOT of time (over 20 hours) to talk (remember I said
Peter loves to talk, well so do I.) Most importantly, Peter took an
integral role in creating his LEGENDS book. He even contributed
rare photos from his entire life and career, (it turns out that Peter
is quite the photographer,) and he contributed some unheard
and rare recordings that are included as free digital downloads.
Lastly, I have seen that many Modern Drummer readers wanted
less ads and more content. Since I am the Director of Content for
Modern Drummer, I LOVE that! Unfortunately, less ads means a
higher price, but I can assure you that all of that space has been
filled up with tons of brand-new content. Peter Erskine LEGENDS
is a book (not a magazine) that is intended to educate and be
enjoyed by drummers, but we want other musicians and music
lovers to enjoy these 165 pages and learn something too.
Legendary drumming exists within great music, for me it’s Visit moderndrummer.com/shop
always been about the music and the drumming. Many years ago,
Modern Drummer created the bar for music publications. In that to purchase your copy today!
tradition, we at LEGENDS are raising the bar for drum and music
publications. Available in digital and print versions.
Mark Griffith

BASICS
Recording from Home and Wearing Three Hats

By Billy Ashbaugh
L ast month we talked about the challenges of picking up the

drumsticks for the first time, studying, and the process of learning
to become a good drummer. This month we take a big jump forward
are the spots where you’ll start and stop recording. I’ve punched
everything from a single snare hit to an entire section of a song. The
trick is that when you’re recording the fix, you must reproduce exactly
in your drumming journey. My series of Modern Drummer articles is what you played right before and after the “punch in.” Otherwise,
not necessarily chronological. Therefore, this month I’d like to talk you’ll be able to hear the inconsistency in sound and approach. For
about what it’s like to have your own drum recording studio set up at instance, if you hit the floor tom and china right before the punch,
home. you must make sure you play that part with the same exact intensity
Today, many drummers are finding it easier to create a home and attack you did the first time. If you hit either sound slightly
drum recording environment. But I’m not going to talk about gear, different, you will hear it in the punch. Again, this can be tricky, but it
software, or what microphones to buy. Instead, this article is for works wonderfully when it’s done correctly.
the drummers out there that already have their home studio up Let’s move on to the next hat. As the producer on the project,
and running. There are many you’ll have to make that final call
challenges to overcome when you on exactly what to play before
first start this venture. A friend you send the sample off to your
once said, “It is easier to create the client. The producer determines
home recording environment than when something is “done.” This
it is to be creative in the home is a challenge for any artist.
studio environment”. I couldn’t Learning this skill will definitely
agree more. To me, the biggest help to develop your “musical
challenge is the juggling act that I ears.” To do this, you must be
call “Wearing Three Hats.” able to pull yourself out of your
Think about what happens drumming mindset and step back
when someone goes into an and listen objectively to how
actual recording studio. For any your part fits into the music. To
given session you will (hopefully) this day, I find this to be one of
find three people with three very the most challenging aspects to
different (yet extremely important) successfully recording a project.
jobs to do. They are the engineer, But like everything, the more you
producer, and artist. Once you do it, the better you get.
have your own home studio, you’ll The next hat is worn by the
have to tackle all three of these you, the artist. This is when you
jobs by yourself. Remember, each get to do what you do best…
job requires different skills and are simply play the drums! But
equally important for the success beware, you’re going to have to
of the music you create. The trick perform at the top of your game
is balancing these three jobs while you are laying down the perfect to wear this hat successfully. This is when you use the skills that you
drum track. Let’s dig into successfully wearing “The Three Hats.” have developed since you first picked up the sticks (the skills that
As the engineer, you’re responsible for the sound you provide we talked about last month: Your Hands, Counting, Reading, Control,
for your clients. Dialing in your drum sound can be quite difficult. Time, Tempo.)
Learning this craft will be a challenge for most drummers starting Now let’s talk more about how you can effectively merge the
out. Many professional engineers have dedicated their life to this worlds of wearing the three hats. As a drummer (artist,) getting in “the
creative skill. For me, I spent a lot of time researching and watching zone” is crucial for giving your best performance. An uninterrupted
YouTube videos. I also called as many friends as possible who were flow of creativity is what it takes to create your best work. When I
knowledgeable in this area and picked their brains on the topic. first started recording professionally at home the first thing I realized
At the end of the day, you must trust your ears when it comes to was that I seemed to be constantly taken out of my “zone” while
dialing in your own drum sound. You’ll also have to troubleshoot any recording. These interruptions came from the other hats I had to
technical problems that arise during your recording: Perhaps it’s a wear while I was playing drums for a musical project. There’s always
crackling cable, a drum that goes out of tune, or a microphone that responsibilities for the engineer while you are tracking. It’s now your
gets moved. Solving all of these problems fall under your engineer job to make sure a microphone didn’t move, or a drum didn’t go out
title. of tune while you were playing. Or maybe there is a trigger issue that
Another very important task you’ll have to master as your own you need to address. Over time you’ll get used to keeping your eye
engineer is punching in fixes for your tracks. Punching in means that out for any problems that might arise while you are playing, but that
you only re-record a section or a few notes that need to be fixed. For can be distracting. One trick that works for me is to try and set up the
example, let’s say you play a perfect take except you rushed a snare session, get all of the technical stuff out of the way, and get the drum
hit in the first verse. Or maybe you messed up the fill going into the sounds dialed in the night before I track. That is when I make sure
bridge. When you punch in the fix, the trick is finding a spot to “get EVERYTHING is dialed in, working correctly, and I’m literally ready to
in” right before and where to “get out” after the trouble spot. These start playing drums. Then I’m able to go in fresh the next morning and

just focus on my playing and the music. I always play better earlier in the material and arrangement. When I do this, I’ll go for about 90% of
the day, therefore it’s better for me to prep the night before whenever my track being a keeper. Then I’ll go back and fix the little parts that
possible. If your schedule doesn’t allow you to wait until the next need it. I’ve found that this approach really lends itself to capturing a
morning, at least try to take a break and clear your head before you consistent vibe for the entire song, as opposed to piecing it together
start tracking. Although technical problems may (will) still happen, one section at a time. Either way works great, it’s just a matter of what
having a fresh mind really does help you solve problems. When it works best for the song, along with what’s more comfortable for you.
comes to dialing in your drum sound, try listening back on several Then there’s the musical microscope! This is the part that
different sources. Studio speakers, car stereo, various computer intimidates everyone. But I recently found that there is real magic
speakers, headphones etc. Using different sources will help you find in that microscope. During a current recording project, I had a very
the sound that works best for that project. interesting experience that I’d like to share with you. Over the past
As the drummer-artist a point well-worth-mentioning is that when several months I’ve been recording a new CD with John Lodge from
you record, your playing has to be spot on! Consistency is key for The Moody Blues. We re-recorded their classic album Days of Future
this job. Every kick and snare hit must have the same velocity and Passed in its entirety, plus a few other classic Moody songs. We did
attack. That’s true for all of the voices on your kit. Every tom hit needs a total of sixteen tracks. I’ve been playing with the Moody’s since
to be in the center of the drum with the same intensity to create a 2015 and there are a number of songs from Days of Future Passed
consistent sound. The same goes for your cymbals and hi-hat. You that I have been playing live with them for years now. Taking that
can’t bash away for the first chorus and then play softly the next time material into the studio was a new experience to me. Up until now,
that section comes up. Then of course there’s your touch and feel, but all of the material I’ve recorded in my studio was music that I’d never
that’s another entire article to itself. heard before. However, when I was recording John’s album, there
How good you make the song were several songs or sections of
feel will determine everything. It will
literally make or break your success
“Every kick and snare hit music where I had to change my part
slightly to make everything work
as a studio drummer and the success
of the song you are recording.
Your playing is definitely under the
must have the same velocity better in the studio for that song.
That was an educational experience.
When we finally got back out on
musical microscope in the studio
environment. This kind of pressure
and attack. That’s true for all tour again after Covid, something
amazing happened. The songs I
can easily take you out of your zone. “worked on” in the studio felt much
So how do you fix this? Well, the first
step is simply being aware of it. Make
of the voices on your kit.” better. I had a conversation with the
musical director (who was also doing
a mental note and pay attention to the recording for the CD) and he felt
your playing while you’re tracking. I recommend recording yourself the exact same thing. We chatted a bit and came up with this reason:
playing the entire song once through and then sit back and listen When you play live, the music and magic of playing together
with honest ears. Listen for the inconsistencies and do your best to goes by very fast. You’re in the moment. If you make a mistake or a
fix them. When (you think) you’re “done,” try asking someone you section feels a little rushed, it goes right by and you’re onto the next
trust to critique your playing before you send it off to your client for song. However, in the studio it’s just the opposite. Like I said, in the
approval. I do this quite often. I’m lucky because my wife is also a studio environment every note you play is highly scrutinized. Your
very accomplished drummer with great ears. I know I can go to her sound, note placement, and feel become exposed. Unlike playing
for a fresh and honest opinion. She is basically helping me wear my live, in the studio you’re forced to fix any musical problem on the
“producer hat.” That’s a great asset to have whenever possible. spot before you can move forward. This is where the “magic” that I
When I am recording, another trick that I use is to take frequent spoke of comes to the forefront. Being placed under the microscope
breaks. This is especially true when it comes to deciding what drum actually helped my live performances. I’m now able to take these new
parts to keep vs. re-recording. Walking away and coming back with drumming ideas to the stage for an even better live performance. It’s
fresh ears is priceless. This time is easily available when you are never too late to learn a new lesson!
recording at home, as opposed to being in a studio and being “on I hope you enjoyed this insight into working in your own home
the clock.” Trust me, you don’t want to send anything but your best recording studio. To be successful in this environment creates some
work to your client for review. If I have the time, I’ll even put a track daunting musical challenges that you must meet and master. It can
away until the next day. Quite often this break is the only way I can be hard to make “the three hats” fit comfortably. But when you do,
make an honest assessment of my playing. These are all the job of there really is nothing like laying down that perfect drum track for a
a producer at a recording session, and now you are wearing the song. Good luck and enjoy the journey!!
producer hat.
Now let’s talk about how you as a drummer-artist approach Billy Ashbaugh has played professionally for nearly 40 years. He’s toured
learning and recording new material for a client. Basically, there are with ‘NSYNC, Pat Benatar, The Moody Blues, John Lodge, Alan Hewitt &
two ways I do this. My approach really depends on my comfort level One Nation and Brian Littrell (BackStreet Boys). He has also recorded/
with the material. performed with Martina McBride, Tim McGraw, Robby Steinhardt
The first way is to take one section at a time and loop or repeat it (Kansas) Gloria Estefan, Britney Spears, Richard Marx, Christopher Cross,
over and over while creating my part. This works great if the music Alex Boye’, Joey Fatone, Greg Howe, Samantha Mumba, Hedras Ramos
(or my idea) is a bit more challenging. This approach really allows me and many more. When he’s not on tour, Billy offers online lessons as well
to settle into the idea and work on my muscle memory for that part. as re-mote live drum tracks from his home studio.
The other approach is to track the song in its entirety from beginning
to end. Obviously, for this approach you need to be comfortable with
Check out Billy’s Modern Drummer profile page at moderndrummer.com
ROCK PERSPECTIVES
Carmine and Taylor

Taylor Hawkins has mentioned in several interviews, that along with playing along to songs off of the radio, some of the first
beats that he learned, came from his next-door neighbor showing him the first page of the Carmine Appice book Ultimate
Realistic Rock.
Taylor’s friend Kent explained the first beat on that page to him, and the rest was history. We figured that it would be
appropriate to include those first few pages of Carmine’s book in this tribute to Taylor. These 19 beats are some of the
cornerstones of rock drumming and have set many drummers on the right path. Thanks Carmine Appice and Taylor Hawkins.
Quarter Notes
1.
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Check out Carmine’s
Modern Drummer Celebrating The 50th
profile page and his Anniversary Of
book collection at Ultimate Realistic Rock
moderndrummer.com
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JAZZ DRUMMER’S WORKSHOP
Bob Moses Drum Wisdom: The Eight Points

In last month’s Modern Drummer, we reintroduced Bob Moses’ fabulous notion that he calls “The 8/8 Concept” from his
book Drum Wisdom. Bob’s concept of feeling music in 8/8 leads naturally into another concept that Bob calls “The Eight
Points.” The following is an excerpt from Drum Wisdom called “The Eight Points.” In upcoming months, we will reprint the
next few chapters of Bob Moses’ outstanding book Drum Wisdom that further explain and teach this subject.
The Eight Points

Once you accept the 8/8 flow as a useful concept, the next logical conclusion is that there are eight points in the bar that
you can resolve to: the four up beats and the four down beats. For some reason, the way music has been taught in this
country, people learn to think that the one is the most important beat in the bar. In fact, it’s not the most important, and in
some ways, as a resolution point, it might even be the least important. I feel that you should be able to resolve equally well
to any one of the eight points. By resolve I mean that you can start a phrase somewhere before any given point and have it
land naturally and easily on that point.
The way to master the eight points is not an intellectual process but is best achieved by becoming familiar with how
they feel. They each have a distinctly different feeling. There is as much difference between 4 and the & of four as there is
between the color blue and the color green. This leads back to attitude. One of my concepts of music, which I apply to all
instruments and all music, is that every note should be played for a reason. When I play an & of four, I play it because it has
a certain feeling, and it is my conscious choice to play that feeling.
One of the basic rules of any kind of communication is to choose your subject matter. No matter what it is that you want
to get across. For example, if I were giving a speech, I wouldn’t have a sentence about politics, then a sentence about
baseball, and then a sentence about ice cream. I would choose one topic. Perhaps I would say different things about the
topic from night to night. One night I could be very abstract; another night I could be funny; another night I could be sad
or serious. But my audience would always know what my chosen topic was because I would stay with the topic I chose.
The same is true with the resolution points, it is important to realize that because they each have a unique feeling, jumping
randomly from one to another is like changing topics in a speech. This is not to say that you can never use more than one
point at a time, or that you can’t use combinations of points, but again you must know exactly how each point feels, and
you must consciously choose to use that feeling.
Let me now bring up something which makes this easier: Although there are eight points in the bar, there are really
only four different feelings. Although there is a difference between the one and the three, these points feel very similar.
Likewise, the two and the four have a similar feeling, as do the & of 1 and the & of three, and the & of two and the & of four.
I am going to give you a methodology for working on each of the eight points, but because of the similarity of feeling, I am
going to first discuss them in groups of two.
1 and 3
To me, the one and the three are anchors. They tend to stop forward motion, almost like putting a stake in the ground.
They tend to give a feeling of reaching the end, and for that reason, I tend to use these the least of all resolution points.
Ironically enough, they are the ones that almost everybody seems to be able to do.
2 and 4
These are very valuable resolution points. They are where the swing resides. These are the beats that you snap your fingers
on or clap your hands to these are the beats that make it swing, and resolving on these beats is very effective.
The & of 1 and the & of 3

To me, these feel like an elbow in the ribs; They have kind of a jerky feeling that wakes you up. They also remind me of a
contraction; They have a pulling in kind of motion. They are very effective because they tend to propel the music.
The & of 2 and the & of 4

These are the opposite of the previous feeling they are like an expansion rather than a contraction they are a stretching, a
leaning forward. There is a famous Miles Davis composition called “Four” that is based on the & of 2 and the & of 4.

If I had to pick one point that is the most important, I would pick the & of 4. But again, I stress: don’t skip any of them. They
are ALL important.
Methodology for Mastering the Eight Points

In the following months, we’re going to deal with each resolution point individually. To do that effectively, we will work
with two bar phrases, let’s look at the reason for that.
The idea behind a resolution point is that it gives you an element of repetition that is necessary for groove. We do not
necessarily need something that repeats in every bar, however, because we are not just hitting these points, but rather,
we are resolving to them. One bar doesn’t really give you enough room to resolve. In order to have enough room to make
a resolution, most of the time we’re going to want at least a two-bar phrase. It could, in fact, be a four (or an eight) bar
phrase, but in this book we will focus on two bar phrases because they are so basic and common to music.
I feel that it is very valuable to visualize music whenever you can. You should not just hear it, but also see it. When
working from a resolution point, start by visualizing a two-bar phrase with a grid of 8th notes, which you will use as your
framework.
The next step is to zero in on one of the points. For the moment we will pick the & of four in the first bar, and we will mark
that point with an accent. (Note: in actual practice, the resolution point does not necessarily have to be the loudest note in
the bar, but more about that later period.)
So you are now visualizing a two bar phrase of 8th notes, and one of the notes has been chosen as your resolution point
The ability to internalize the 8/8 framework with a resolution point in it is the key to freedom on the drums. Working off
of a point will give you the element of repetition that is necessary for groove, but it will also allow you all the freedom you
could ever want. In other words, that one point -in this case the & of four- is always going to be there, and that’s enough
to give your playing the cohesion it needs. Around that point though, you can be playing different things all the time. The
things that lead to or follow that point can be constantly changing.
There is another advantage to using a point: it can help you keep good time. Some people have trouble with rushing or
dragging, and one of the reasons is that it is very difficult to memorize pure pulse after a few minutes, it can become a
shade faster or slower. Granted, few people have metronomically perfect time; Nevertheless, you want it to be as close as
possible. A resolution point helps with this by serving as an aural landmark. After hitting the point consistently for even
one minute, it starts to become inevitable. You become so used to hearing the point in its exact spot in the phrase that, if
you should get even a little off, you will immediately be aware of it.
In the coming months, we are going to apply these concepts to each of the eight points. Since we are dealing with two bar
phrases, we have a choice of putting each point in the first bar or the second bar. Therefore, we are actually talking about
16 possibilities, and we will deal with each of the 16 in the following months. But let’s start with the & of 4.
The & of 4 in the First Bar

Developing Your Internal Hearing
First, visualize a two-bar phrase, with the 8/8 framework, and focus on the & of 4 in the first bar

Before trying to play anything, spend some time singing the above two bars. This phrase will become your internal hearing
when you are actually playing off of the & of 4 in the first bar. Until you can internalize this phrase it will help to sing it out loud.
It may be played or sung as swung or straight eighths
Exercises
Before you can use a resolution point to its full advantage, you must be able to feel it without having to count. To develop that
ability, I suggest that you start out playing something very simple, such as a basic time keeping pattern, while marking the
resolution points. A common way to mark the point is with a combination of a cymbal and bass drum. A suggested exercise,
based on the typical jazz time-keeping pattern, is given below. Play this exercise many, many times, until it feels completely
natural, and you do not have to count in order to hit the resolution point. When you do this exercise, be sure to play swung 8th
notes.
At first, you may tend to sound like a big band drummer when marking these resolution points. However, until you really get
the feel of them, it is helpful to be very obvious about them, maybe even a little over obvious. Once you have mastered the feel
of a point you can start to use it internally rather than externally and you can be much more subtle about the way you mark it.
The next exercise is based on a straight eighth note feel and could be used for rock playing. Again, practice this pattern many,
many times, until you can feel the & of 4 without having to count it.
Make up your own time-keeping patterns based on the & of 4 in the first measure, using both straight and swung eighths.
Applications
Music consists of phrases, not just individual notes. The purpose of the resolution points is to give us something to resolve to,
not just a single point to hit. Rather than starting with a drum set pattern and then trying to make a phrase out of it, it is better
to start with a musical phrase, and then apply it to the drum set. Below you will find four two-bar phrases each of which resolves
on the & of 4 in the first bar.
Let’s take the first example and examine different ways that one could apply this phrase to the drum set.

Since 1977, Modern Drummer has been the
world’s foremost community builder and a
cutting-edge influence on all things related
to drums & drumming. A place where young
drummers find and follow their drum
heroes, gear manufacturers, educators &
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Magazine is a coveted achievement that
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heartbeat and center of the drumming
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Now Modern Drummer is expanding our

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As you can see from these drum set examples the resolution point can be incorporated into very simple time keeping
patterns, as well as more complex solo or fill patterns.
For the remaining 15 points I will only be giving some rhythmic examples of phrases which resolve to the given point. I
will not illustrate how to apply those phrases to the drum set, because it is more important that you develop your own
ability to do this, rather than memorizing the way I -or anyone else- might do it.
Rather than practicing specific exercises, you need to develop your own creativity and your ability to use the resolution
points in whatever type of music you play. After you feel that you can hold the 8/8 framework in your mind, along with
a specific resolution point, start creating your own two-bar phrases which resolve to that point. At first you might want
to practice the individual phrases repeatedly, but ultimately you should be able to play a different phrase every two
measures with the only common element being the resolution point itself. You can use the following example as a
framework for your playing, filling in around the resolution point in any way you choose.
Check out Bob’s Modern Get your copy of Bob Moses’ Drum
Drummer profile page Wisdom at moderndrummer.com
at moderndrummer.com

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CREATIVE PERCUSSION CONTROLERS
Radical Hybrid Drumming “Behind the Scenes”
with the Essential Rudiments
By Tony Verderosa
T here is a range of percussion

midi functionality essential
to all electronic percussion
controllers. In this month’s
column, I am going to
use several of my custom
hybrid drum kits (and a new
song) to demonstrate the
key features that facilitate
music composition, live
remixing, and advanced
creative drum triggering.
The goal is to become fluent
in the use of these basic
functions (rudiments) so
that they become second
nature, much the same way
you internalized the basic
snare drum rudiments. Most
“creative percussion controller”
rudiments are easy to apply
using almost any midi drum system on the market today. TIP: When you finally master one cool feature, write and record
Let’s dive right in. Here is an audio clip of a new track called “Yep some music with it! Listen back to your recording, evaluate it, refine
Magneto.” Everything you are hearing is triggered from my acoustic it, and keep experimenting.
drums and pads. I will continue to record and refine various versions
of this track and release this on Spotify & iTunes. This music may also I will confess, I’ve owned a very complex hardware synthesizer from
appear in a new film and/or tv show for which I am composing. I Yamaha since 2016. It’s called a Yamaha MONTAGE.
designed all the sounds inside Cubase Pro, and once the individual
samples were completed and sliced up, I assigned them to my
virtual sampler. There will be a 5 minute “video tutorial” further on
in this article to show you exactly how all of this is mapped out and
programmed on my hybrid kit.
TIP: Use the following ‘drum technology rudiments’ the same way
you would approach learning from drum books or any other article
from Modern Drummer Magazine. Grab an idea, apply it your set
up, experiment, and run with it! Here are the foundational ‘drum
technology rudiments:’
MANUAL READING (LEARNING THE GEAR:)

You probably didn’t expect to see this rudiment at the top of my
list! If you really want to go deep with electronic percussion and
start composing and remixing, this skill would be right up there
with the double stroke roll. This area is unfortunately where a lot I was able to learn some basics initially, but I always felt
of us just tune out and get overwhelmed. You are not alone. I am intimidated with this instrument. When I finally dedicated some
still dealing with this frustration, and I have been working with this quality time to really go deep with YouTube videos and the manual,
technology for well over 20 years. There are no shortcuts. You must I was STUNNED with how much was under the hood of this synth.
be 100% committed to knowing your electronic gear inside and out. Now I sit and program new sounds on this instrument 6 hours at a
It takes patience. YouTube videos can be valuable when learning a time, and it feels like only 20 minutes has gone by. It’s a “zen-like”
new synthesizer, drum module, or FX pedal. Keep the PDF version experience. The Montage has become a very important part of my
of the manual open on your iPad or computer but simultaneously set up as a composer/sound designer.
watch the drummers who are posting video manuals and ‘product In this next video, take notice of the expression pedal on the floor
walk throughs’. I go through this process all of the time and I am next to my hi-hat Pedal. This pedal enables me to mix the balance
really careful about book marking the best videos so that I can jump of various sounds and utilize different layers and effects while I am
back and review them again and again. triggering the synth keyboard from my hybrid kit. This is probably

my favorite feature on For example, if you love Ableton, get yourself a laptop and don’t
the Yamaha Montage. ever use that laptop for anything other than music. It will last you
I can assign the “Super for 10+ years. Don’t constantly upgrade the OS (Mac Operating
Knob” directly to my System). When your system is stable, and all your music software
expression pedal. The is solid, leave it alone. “Box yourself in,” so to speak. Decide on how
Montage synth sounds many triggers and pads work for you and STAY WITH THAT SYSTEM.
are not static. They Can you achieve your Hybrid drumming goals with just one multi-
can change, bend, and pad sampling controller, 3 triggers and one extra pad? If so, perfect!
morph each time I play Lock it in. Start recording music with it, share those ideas on social
by incorporating the media, and go play some live shows.
Super Knob (expression Here is an interesting fact about my personal hybrid kit. My main
pedal.) midi drum module is a Yamaha DTX 900. This module is well over 10
Creative applications years old and that doesn’t concern me at all. It does everything that
like this are inspiring. I need to do musically and creatively. It is important to mention
I am improvising on that I no longer use ANY of the internal Yamaha DTX sounds.
this track which is You can see in the photo below from my studio - all the volume
like a cross between sliders are DOWN (OFF). I am only interested in the DTX 900 Midi
electronic music and capability and the trigger speed for acoustic triggers and pads.
a film cue with some I use the DTX midi controller to access my own custom sounds
progressive rock inside keyboards and my computer. The DTX 900 also has built in
elements. Also worth sampling functionality. I no longer use this feature since I have a
noting, this hybrid kit virtual sampler inside my computer. The takeaway here is stay with
uses just one single midi what works for you.
note assigned to each
pad and drum trigger.
We will discuss midi
notes a bit further along
in this article.
SET UP LIMITS:
This rudiment might
be a little controversial,
but I have given this a
lot of thought over the
past few years. There is a
lot of value in deciding
on a basic set up and
sticking with it. Spend
3 - 5 years with the same
exact gear and work MIDI NOTES:
every conceivable sound This is a critical rudiment. I look at my midi keyboard and it
to its fullest potential. becomes a visual road map for everything I want to achieve
Focus on the result and creatively. Any of the black and white keys on a midi keyboard
maximize your creative controller can have any number of different sounds assigned to
output with a finite them. If you are creating your own custom samples inside a virtual
set of sounds. Yes, I am synth or virtual sampler, it doesn’t matter which key has which
suggesting that you sound. It’s completely up to you.
“paint yourself into a If you are selecting a synthesizer patch or a piano preset, then
corner” with your choice you can always expect that the primary sound will appear across
of gear. Make some the entire keyboard range and each of the keys will represent the
final decisions about correct PITCH of that tonal instrument. When you are dealing with
your electronic midi Roland, Alesis and Yamaha Electronic Drum Modules, the drum
instruments. Commit samples will often adhere to a very strict key mapping across the
to that gear and stay keyboard notes. This will allow you to instantly access general midi
focused on just that drum sounds on your computer and will also facilitate accessing
gear. some of these amazing drum sample libraries out there such as EZ

Drummer, Steven Slate drums, Addicted Drums etc. You can read up ambient melodic sounds must be set to any channel OTHER than
on the General Midi specs below. Midi Channel 10. I decided to use a Spectrasonics VST Synth called
OMNISPHERE set to Midi Channel 8.
General Midi Spec: https://en.wikipedia.org/wiki/General_MIDI
On most of the drum modules available today, if you look at GATE TIMES:
the menu edit pages, ultimately you will find that each drum Another critical rudiment I use all the time is setting the “Gate
and percussion “voice” is assigned a specific midi note. When you Time”. This gives me control over the length of each synth note or
play your kit into the onboard sequencer or record your midi string pad or entire “chord” voicing. For example, if I set the gate
performance into your laptop, you are transmitting midi data, midi time to 0.1 or 0.2 seconds... that will produce a very staccato, short
notes, and midi velocity. You will want those midi notes to line up sound. In some cases, I want to have a chord playing strings and
perfectly with the most popular sample libraries so that when you piano last much longer, so I would set the “gate time” to 5 seconds
stomp on your kick drum pad, you hear a kick drum sample. or 7.3 seconds. It all depends on your music arrangement and what
In the case of my custom hybrid set up, I don’t need to adhere tempo you are playing.
to the general midi mapping standards. I am just randomly
assigning each custom sample to C1, G2, F3 and so on. When I start POLYPHONY SETTINGS (Mono or Poly:)
programming my DTX Midi Drum Module, I get to decide things like These rudiments help me define exactly how a synth patch, drum
“hey - this cool sample would sample, or a sampled loop, will
feel best on my 10” rack tom respond once the sound source
trigger and I will place this receives info from each drum
other sample on my snare pad / trigger input.
drum and some more samples
up on these electronic drum POLYPHONY & LOOPS:
pads”. I simply scroll through When I am triggering
the notes and note numbers individual loops such as
on my midi module and that’s percussion loops or drum
how I audition individual loops, I typically don’t want
sounds from the drum kit. to have a loop playing “on
The display literally shows me top of itself” in poly mode. I
“Input 13 / Pad 13 = Midi Note usually assign just one note
F#3”. of polyphony to each loop. If
I accidentally double trigger
MIDI CHANNELS: a loop, it won’t sound like a
This is a rudiment that pair of sneakers tumbling in
allows for creative expansion a dryer. I am using just one
since each drum trigger or note of polyphony on the “Yep
drum pad can potentially Magneto Kit #42” so that each
transmit midi data on its own drum sample cuts the other
separate Midi channel. Each of one off as I am remixing.
the 16 midi channels can be There are some limited
reserved for a specific set of cases when assigning 2 notes
synth sounds, custom samples, of Polyphony to a drum loop
strings, bass, piano, tuned can be fun, bit this requires
percussion, vocals and so some practice and accurate
on. This offers tremendously timing. I used to do this live on
flexibility. Most drum modules stage to create a “Double Loop
reserve midi channel 10 for Remix Effect”. By giving a drum
all the onboard drum and loop 2 notes of polyphony,
percussion related samples. I can create some very cool
For my “Yep Magneto - DTX rhythms since the loop is
Kit #42” I decided to keep playing “against” itself.
my custom samples on Midi
channel 10. That means that POLYPHONY & SYNTHS:
every pad or acoustic drum If I am triggering sub bass
trigger where I would like to synth tones or deep analog
play those custom samples, synth bass sounds, I always
those inputs must be set to make sure the trigger is set to
transmit on Midi channel MONO. I want to be sure that
10. I added a second layer the bass synth notes cut each
of musical sounds using a other off so that there is no
beautiful ambient piano / overlap. If there is overlap using
synth type of patch. This bass synths, there will be a very

muddy mess of a sound. This new song below makes ample use I use “Alt Groups” for special sound effects, drum loop fragments
of mono mode with the synth bass sounds triggered from my kick and long loops that should never be playing simultaneously. I may
drum. have 16 different loops and effects set to “Alt Group 1”. Creatively
If I am playing melodic ideas up top on some pads in the same I may decide I need to hear some accents and vocal samples with
drum kit, I might choose a melody sound with a very long decay. delays ON TOP of those loops. In this instance I will assign those
Again, it may be very useful to place that “lead” instrument in “accent sounds” to ALT GROUP 2. You may be triggering entire
mono mode. If you are triggering samples such as drums and sections of a song for your band live on stage. You may have your
cymbals inside your drum module, you don’t want to hear cymbals song split into the INTRO, VERSE, CHORUS and BRIDGE. Each section
cutting off their natural decay, or snare drums that sound more of the song is assigned its own pad on your multi-Pad sampling Midi
like ‘machine gun fire”. This is where using maximum polyphony Controller. You would NEVER want to accidentally hear your INTRO
is critical. Generally, those sounds will all require POLY mode to playing simultaneously with your CHORUS. In that case, each PAD
maximize polyphony inside the module to achieve a natural sound. would be assigned to the same “MUTE GROUP”.
There are some exceptions. In a situation where you might want
to create a “Squarepusher” style sampled breakbeat, then having HOLD MODE (TOGGLE MODE:)
certain drums and cymbals “choke and mute each other abruptly” This is a wonderful rudiment that you can apply to LOOPS or
may be the sound you need. In those cases, you can assign Mono SYNTHS or AMBIENT DRONES. The first time you hit the pad, the
Mode to specific samples that require such an unusual effect. There LOOP or SOUND starts, and it will play FOREVER. It’s waiting for
is also another trick where sounds can be assigned to special groups the second hit which will make it STOP. I love using this feature on
to achieve the same result. drones, cinematic sounds and drum loops.
ALT GROUPS & MUTE GROUPS: All of the rudiments, techniques, and software functions
Some music companies call this rudiment “Alternate Groups,” described above are covered step by step in my 5 minute video
and others call them “Mute Groups.” The idea is that you can assign tutorial below. This is a complete breakdown and analysis of the
a batch of different sound samples to a “Mute Group” so that they music track from the top of this article called “Yep Magneto”. Thanks
each cut each other off and they never overlap. This is extremely for watching and see you next month!
useful when trying to dial in a realistic electronic hit-hat set up.
Check out Tony’s Modern Drummer profile page at moderndrummer.com

COLUMN NAME
Taylor Hawkins
In His Own Words…
Courtesy od Drum Workshop Joseal Tonaga

I wasn’t good at sports and I was having a
hard time finding girlfriends. It was 1982.
I was ten years old, and just getting into
When it comes to keeping time, I don’t
really think about it. I naturally speed up a
little bit. If I do think about keeping time, I
the music of the day, new wave, the Police, slow down. The key is not thinking about it.
and stuff. My older brother was a music (laughing) When the Foo Fighters try and
enthusiast. I wanted to be in a band from do a track in the studio without a click track
the second I got into rock and roll. I liked I’m useless because I’m thinking about the
the way music and rock and roll made me time so I always slow down. If we just go
feel. It looks cool, and the people on my in there and say, let’s just do a quick demo
record covers looked cool. I wanted to be and don’t pay attention, then I go in there
them. and can play a pretty steady drum track
My neighbor Kent played drums and that might speed up a little bit, but that’s
guitar, but I wanted to play guitar because okay. But, once the red light goes on and I
that seemed like a better way to get noticed don’t have a click track, I will slow down. For
with chicks. One day I plucked around on the most part, I use clicks in the studio. My
Kent’s guitar and thought, this is going to point is, you don’t have to be great, kids.
take a really long time to learn. He also had Something I’m working on is how
a drum set, this weird crappy drum set that to make my fills just as prominent and
had homemade tom stands made from powerful, with the volume just as loud, as
pieces of 2x4 wood. Kent told me to sit the as the rest of my playing. A lot of our
down and try hitting the drums. I was like, songs are punk rock, even though I’m not
‘I don’t want to play drums, man. Nobody a big punk rock guy, so our songs tend to
pays attention to the drummer.’ He had that be up tempo and aggressive. I naturally
Carmine Appice drum book, Realistic Rock, tend to hit the drums way harder than I
in there. Kent taught me the basic rock need to. It’s really nothing I think about,
beat. Kick drum on the one, snare drum and I wish I didn’t sometimes. When I met
on three, hi hats on all four. I sat down and Neil Peart I asked him about consistency.
just did it right away, automatically. I wasn’t When Neil Peart plays, he will do a fill down
necessarily really coordinated. My brother the toms after just playing so hard and
was a good baseball player, and I didn’t aggressive for a whole verse and all of the
really have that in me. I played a little bit of volumes will be just as loud as the drum
baseball, but I wasn’t the guy who could do beat on his snare, and that’s hard to do.
anything with his hands. I wasn’t like him. That’s something I still fight with. It doesn’t
I was a dork and a klutz, and chubby. But I matter how good you are, you are always
could automatically play drums. The next working on something. It’s good to have
day I came over and Kent taught me some some sort of ego as a drummer because to
fills. I guess I had natural talent. get up on stage in front of people you have
I broke out my records and tried to play to have some kind of ego. You have to know
along with them. Some of them were suited that you can get up and play. Even if you’re
to my 10-year-old, one week of playing, Dennis Chambers, there’s always something
drum style. I played A Night at the Opera by to work on, and if you don’t think there is,
Queen. I didn’t play it well, but I understood you’re a jackass. I don’t know what Dennis
it and could play along to it. That’s how I Chambers needs to work on but there has
learned. to be something.
I took a few drum lessons and always Getting better at the drums now comes
hated them, which is not good. I wish I paid in small increments and it’s virtually
more attention and had a little bit more unnoticeable, but drummers are always
patience. I wish I knew all of my rudiments evolving. From the time I started playing
really well and could use them more. I the drums I thought I was the best
learned my rudiments by listening to Neil drummer in the world, and then when
Peart and Stewart Copeland. My rudiments you actually get out there in the real world
are all kind of stolen and fake. I never or hear yourself in the studio for the first
learned the real way to do it, but I don’t time, or notice what really makes a good
think there’s anything really wrong with drummer, you realize what a truly crappy
that. drummer you are, so you have to evolve.

NEXT GEN
Steve Lyman, From Drums to Meditation, Thinking
Beyond the Surface
By Raghav Mehrotra
S teve Lyman is certainly a force to be reckoned with. Initially

he was surrounded by classical guitar and flute played by his
parents. Steve has always had a knack for composition and has
Coltrane, and Tony Williams. I am fortunate to say that Jimmy is a
good friend of mine today and he has been a positive role-model in
my recent development.
applied it to his drumming. He has worked across many genres— Going back though, when I was about 16, my stepmom saw that
from jazz to funk to intense electronic music to drum and bass, and I wasn’t really progressing. She got me in touch with drummer, Jay
with artists such as Machinedrum, José James, Donny McCaslin, Lawrence, who was my first drum teacher in Salt Lake City. I wouldn’t
Austin White, Chase Baird, and Gilad Hekselman. Steve’s drumming be here if it wasn’t for him.
transcends typical boundaries and he has redefined his playing MD: Is there a defining lesson you remember learning from him?
to be an extension of his view on inclusion and balance. In this SL: I’m a left-handed person, and when I started working with him,
interview, we dive into how he’s developed his unmistakable sound, I would always set up my drumset left-handed. I vividly remember
his relationship with himself, finding peace in his life (both musically his remark, “Nope! You’re gonna learn righty!” It was definitely an
and otherwise,) and what we can look forward to hearing from him iterative process, but it made the drums more horizontal-seeming
in the future. and overall it benefited me positively. I also started listening to
jazz around that time, admiring
MD: I guess we’ll start from the artists like Art Blakey and Philly
beginning; what initially drew you to Joe Jones, because my dad had a
music and drumming? restaurant and put on jazz music.
SL: So, I grew up in a musical family; As I kept listening, I went deeper
my dad is a classical guitarist, and down the rabbit hole. I discovered
my stepmom is a professional flutist. Tony Williams’ playing on Nefertiti,
Actually, one of my first memories and Jeff Hamilton when I saw him
is my dad playing Bach when I in concert…I was enamored by
was a kid. I had a guitar upstairs the sheer breadth of information
and a flute downstairs, music was coming my way.
all around me in general, which MD: Did you play in all of the bands
was great. I then started playing in school after that point? What was
saxophone in elementary school—I your musical engagement in school
guess I really didn’t resonate with like?
the instrument, so I never continued SL: Yeah, I played saxophone in my
it—but in junior high, there was an school’s concert band, but after
opening in the percussion section Junior High it was all drums. I did a
of the school band. It just seemed year of drumline, and there was also
like it would be fun to try it out! my studies in university. I learned
Austin Aubruy
The band director put up a piece a lot of rudimental chops and the
of sheet music in front of the snare importance of heights and accents,
drum, and, obviously, it looked like but honestly, my time in university
a foreign language. Later though, was where I learned the most.
he led me into a side room where MD: How did that focus on classical
there was a drum set; not thinking music in university affect your
about the sheet music I had seen, outlook on what you were playing?
I just started playing. Looking SL: Well, I appreciated it more when I
back, there was some type of deep started understanding composition.
somatic connection, almost as if the It made me a more rounded and
instrument “found me” or I “found informed musician for sure.
the instrument.” MD: Were you a “transcriber” at that
MD: Did you see music as a central part of your life at that point in time? Or did you learn most things by ear?
time? SL: I have never been a huge transcriber. I don’t say that in a
SL: I don’t know if it was at that stage. Music offered me a safe bad way though; there are many people I consider heroes who
creative space. I grew up in a chaotic environment. The divorce of transcribe! What I did during college, however, was lock myself in
my parents was quite hard on my brother and I; music was always a the basement and just shed. I would just lock myself in the studio
positive light in any darkness I faced at that time. ‘til three in the morning playing along to all of the records I heard.
My main influence on the drums at that time was (and still But one of my college professors, who was also my drum teacher at
remains) Jimmy Chamberlin. His drumming gave me the capacity the time, really stressed the importance of transcribing when I was a
to hear emotional expressions on the instrument in new ways. The freshman. I decided my first transcription would be Max Roach’s solo
Pumpkins’ music gave me the ability to later hear the depth of Miles, on “Joy Spring.” I was perplexed; “How do I transcribe that?” I thought

to myself. I ultimately listened and slowly figured out the strokes, MD: Tell me about Utah. It’s not the first music centric city that
and just went from that experience. I ended up doing a lot of comes to mind in a lot of people’s minds. What was it like growing
transcribing from an assignment perspective, but looking back on up there?
it now, the way that I’ve evolved to transcribe is to notice phrases SD: Correct, it’s not at all the biggest musical city, but there are
or stickings that I’m interested in and focus on those. I really try to an array of educational institutions there, and there are a lot of
metabolize those phrases and ingrain them into my playing. musicians in those institutions. There’s a huge jazz culture there,
MD: Did you start gigging around that time at all? and even an underground punk scene as well.
SL: Yeah. I started working with this guitarist, Kenji Aihara, in Salt MD: Did you find musicians in your area that played drums?
Lake.; it was the best. We would play standards four nights a week, SL: Before I moved to New York, I did my own thing, due to the lack
but at a really high level, focusing on understanding the nooks of other drummers in the area. I’ve had some really good friends,
between each of the phrases and manipulating certain aspects and I’ve had some really good peers, and I’m grateful for that, but
of the music. I played with him for a couple of years. There were a I’m happy to be in New York.
number of people like Dave Chisholm, and my really good friend MD: What, what was the shift from Utah to New York like? What was
Chase Baird, who was a protege of Michael Brecker’s, who I played the most drastic change?
with often. As the volume of gigs
increased, I kind of made the decision
to move to New York. It was pretty
definite. I got to play with an even wider
scope of musicians—that’s there where
I met and started playing with Gilad
Hekselman and Chris Gordini. Not to
mention meeting my heroes, among
them Jorge Rossy (who was a huge
influence on my playing,) and taking
lessons with guys like John Riley, who
really kicked my butt (obviously for the
better.)
MD: Anything that you learned from
those experiences that influenced you
Austin Aubruy
greatly?
SL: Oh yeah! “Comping.” It is one of the
most fundamental art forms, but it’s
so hard to teach. There are rhythms,
subdivisions, patterns…so many
factors. The question is how do we
actually navigate the choices that we make in communication with SL: First, it was being away from my family, but otherwise it was
other musicians? When you’re both listening to records and playing developing my own autonomy as a musician. I think that when I
live, you start to memorize what every musician on the bandstand was younger, I sort of lacked the internal infrastructure. Now, being
is doing, and then you can start to connect decisions that are being here, I’ve developed a solid one, with the help of my teachers and
made. peers, of course.
MD: Is that conversation between you and those high-level MD: Tell me about your musical relationship with Ari Hoenig. How
musicians how you developed your own comping style? has he been a part of your journey?
SL: Yes and no. At that time (when I first moved to New York) I SL: I remember I played with Chris Potter as part of a student lesson
wanted to be a Gregory Hutchinson clone; I loved and still love at NYU, and I came into the lesson feeling extremely confident
his playing. There’s so much language and expression, but also a about my playing; almost cocky. But while we were playing,
mastery of technical ability, which is amazing. Yet, I discovered that Chris started to play some phrases that I just couldn’t musically
my intention, artistically speaking, was to take the bebop language comprehend, so all of the preconceived notions I had about my
and find ways of manipulating it to work on a more contemporary playing were thrown out the window. Subsequently, studying
stage. If I could pin it to one influence, I think Brian Blade is the with Ari was just perfect because I realized I had a lot of language
greatest example of where it works. When you listen to Brian, you missing in my playing. He incorporated rhythms and phrases I knew
can hear that he’s an emulsifier. It’s kind of a weird way of putting I wanted to say, but couldn’t yet. We got really deep into creative
it, but he has this capacity of holding the entire ensemble in his mechanics and I started developing a larger vocabulary. I knew
figurative arms and facilitating a bond between all the musicians when I was moving to New York that Ari was someone I wanted
on stage. Brian’s expression on the drums is incredibly palpable and to study with, but it turned out to be even more special than I
was something that I wanted to integrate into my comping. imagined it would be. I owe a whole lot to him.

MD: What about his playing compelled you to study with him? that transcends a superficial boundary.
SL: I think it’s the overall package. You can hear meaning in every SL: I’ve had my share of experience with that for a while. I almost
note he plays; it’s all intentional. You can also hear that he’s thinking pursued a PhD in classical composition. It made sense because
about ideas. But for me, especially at that stage, it was so critical although I grew up studying jazz, my formal degrees are all in
to work with him because of the level of conversational capacity composition. I realized that I’m going to always be a student, and I
that could be developed; the level of interaction and rhythmic also have stuff to say musically. Social media started to play a part
engagement. in my artistic journey when I asked myself the question: “Why am I
MD: Growing this fast, did you find that there were any slumps in not playing the music that I love and trying to find ways of putting the
your progress? If so, how did you deal with them? two together in a way that makes sense for me? How can I be a lifelong
SL: I’ve had a lot of ups and downs. For example, I was the student and integrate all of my influences into my artistry?” Jazz is
drummer for Jose James for a while. I played on his first record and a huge part of my DNA. As is rock, Nine Inch Nails, The Smashing
we toured a bunch. But the combination of studying at the New Pumpkins, classical music, and contemporary music. So at this point,
School, practicing a whole lot, and my unfamiliarity with New York I don’t really care about genre, I am gravitating more towards music
overwhelmed me. Subsequently, I’ve done a lot of therapy, I’m a that just has a sound that is compelling.
Zen Buddhist now, and that’s a big part of my life. There were also MD: You mentioned social media, how did that contribute towards
times where I would be practicing as many hours in a day that were your attitude of musical freedom?
humanly possible, but then I would be interested in girls and kind of SL: I actually didn’t want to do Instagram at first. I had so much
let that stuff get the best of me. Looking back on it, I wish I could do shame and fear; social media was almost a taboo. Eventually though
the Jose James record over because I was sort of a jazz purist then I started to post jazz independence videos and although I didn’t
and my approach now would have benefitted the music a bit more. really have a huge following, my followers were really dedicated to
Regardless, those are really sacred times to me and have become following me. It helped me to connect with musicians that I love, be
quite a big part of my DNA and proactive, see my progress, and push
development as a person, too. my own daily creative process. To be
MD: That’s inspiring. How did honest with you, putting myself out
meditation and Buddhism help there has been scary! But I follow the
you center yourself musically? mantra, if you have something, you
SL: It was about recommitment should just share it. Here I am now
to my relationship with the learning and sharing ideas that inspire
instrument, which I see as my artistic conception of who I really
paramount. I don’t want to say am and searching for truthfulness
it was a fresh start, but maybe a within the music that I’m interfacing.
fresh outlook while still keeping Long story short, I’m more interested
previous experiences that have in finding a way of being authentic
been super important to me. within the music I play, than sticking
Turning the new stone in a way to rules. The vastness and figurative
and realizing truly what you melting pot of creativity on social
Austin Aubruy
love. Meditation and Buddhism media, among my followers and those

really helped with that. I think I follow alike, has helped me with that.
also that meditation helped MD: Has living in New York and
my ego be a little bit more practice instilled any specific practice
malleable and helped me to pay routine or schedule?
attention to feedback from the SL: I’m certainly not able to beat the
world around me, instead of getting offensive or defensive. heck out of the drums, I have to muffle them. Also, not having free
I remember one time, about seven years ago, I was playing the access to my instrument is non-negotiable so the shared studio
Blue Note with Chase Baird’s band, and I was incredibly nervous. As space thing is kind of out of the picture. Now, obviously, there’s the
we played, I started to notice that the band didn’t look very happy. financial aspect but we all must find a way out of that mess. I see
We went back to the hotel, and there was this conversation between drums as my temple, and if I don’t have the capacity to make drums
Chase and I. He seemed really uncomfortable, because we were best in the temple where I live, then I’m not happy.
friends, but he was also my employer. He said that he didn’t feel MD: Your work on Machinedrum’s new album Psyconia is incredible.
good, musically, and that I was rushing a lot. I could tell the intention How did that collaboration come about?
was really pure—he was coming from a place of not trying to tear SL: There’s a book that I’m reading that Jimmy Chamberlain sent
me down. I made the effort to hear what he was saying when I very me. It describes how we meet people in our life based upon our
well could have been defensive or stonewalling. I wanted to really energies and that the people who sort of show up in our life aren’t
receive what he was saying. The next day, we were playing at a by accident. I’ve been a huge fan of Machinedrum’s music for quite
different venue, and keeping that conversation in mind, I did my job a while now - his sense of rhythmic composition is incredible - and
and the band sounded great. More recently though, it has helped when he started following me on Instagram, I was blown away. We
make me a better student. It has shown me that, although I am were communicating and he said that he was open to collaborating;
intrinsically a “jazz” drummer and will always have a deep respect for I immediately sent him some stuff. I thought he was just being nice,
the art form, I can move my way throughout genres and create the but then he sent me the stuff back and made a song from the drums
music that I resonate the most with; I can truly be myself. I sent him. That was a really beautiful synchronicity.
MD: That’s something that’s one thing I really love about your MD: And what was recording that separate from him like? How did
mindset is that you respect that art for what it is; that’s something you both manage to keep that level of musical spontaneity without

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being in the same room? new shapes, and those different shapes make me play and think
SL: It was just an organic collaboration to begin with, so there was differently.
already a level of underlying spontaneity. It taught me to trust my MD: What are you listening to right now?
instincts, to trust the things that I love, and to just trust my heart. I’m SD: I’m listening to a lot of contemporary pieces, the Kronos
really proud of that recording. Quartet, Rival Consoles, Machinedrum (especially his album Vapor
MD: Your new project, Tmprl, is a duo between you and Austin White, City,) Thom Yorke’s solo stuff, and Nine Inch Nails. I’m really into any
with you on drums and Austin on modular synths. How has working type of music that connects ambient popular music, improvised
in a duo been, given that a duo is one of the purest forms of musical music, and classical music.
conversation? MD: Where do you see yourself musically and as a drummer, if you
SL: For me, it’s noticing the difference between meandering, making consider those two things separate? Where do you see yourself in
musical decisions, and having compositional rigor. Do I think about the future? Five years, 10 years and in your lifetime?
the form I want to create? How do I think about playing a certain SL: I appreciate that question. I want to live in more joy and integrity
density, rhythmic, and harmonic idea? Compositionally, when do as I grow older, and I want to continue to be a lifelong student. I
I choose to do something different? When do I choose to actually see myself collaborating with musicians and ensembles across the
engage with the density that’s happening? Or when do I drop out? board. I’ll always be an educator though. I want to teach a little bit
All of those questions (and decisions,) help to stop meandering and less and in more focused ways. Maybe some masterclasses at places
to be intentional with not just the notes, but my actual thinking. like Juilliard, where there’s an interface between jazz, classical, and
The way Austin and I work, is we’ll work on dense clusters, or he’ll electronic music. That relates directly to how I feel about putting
play very loud figures over intense rhythmic figurations. Then we’ll music together. I really want to work in the pop world as well. I
draw a map of how we want the music to evolve and make decisions would love to be part of a band at some point. I love my project
in our improvisation on how best the music can move. So instead of with Austin, and I’d love to work with Trent Reznor, Brad Meldhau,
always being lateral, we can have some textures to it. and play more with Donny McCaslin. Ultimately, at this stage, I’d
MD: What gear are you playing right now? like to find ways of connecting to as many people as possible, and
SL: I play and am fortunate play different types of music
to be an artist for Craviotto in a way where it’s authentic
Drums, Istanbul Agop, Remo, for me, and while I’m doing
Vic Firth, Lowboy beaters, justice to the music.
and Sunhouse sensors. I love MD: Are we going to hear
my walnut kit. My maple is some compositions from you
incredible as well. The walnut in the near future?
kit was made in bigger SL: In the past, while I’ve
sizes— the snare is 7x14, the really been focused on
tom is 9x13, the floor toms drumming, today I am feeling
are 14x14 and 16x16, and the the itch to write again soon.
kick is a 14 x 20,—specifically MD: What do you think has
because the music that I want been the biggest factor in
Austin Aubruy
to play is more hard hitting. finding your unique voice as

All my Craviottos have a warm a drummer?
sound, but they also have grit SL: Honoring the music
to them when you want it. that has compelled me and
MD: What about sticks? putting it together in a way
SD: My sticks are actually fairly that makes sense to me. We
large—the Vic Firth MJ4. I used to play with 5Bs. absolutely need to pay respect to our elders, and we absolutely
MD: Why’d you choose a larger-than-normal stick? How did you need to pay respect to history, but at some point we have to pay
adapt to that? attention to what makes US click—what makes the hairs stick up on
SL: I tend to like a girthier stick, because if you can distill my OUR arms— and let it take US on the journey.
technique down, the biggest thing is that I try to have a relationship As a result, we’re going to be asking a lot of questions: What
with rebound. The bigger stick gives me the opportunity to both aspects of my playing can I work on? How can I accurately represent
work on that, and also get my sound out of playing with the focus of what I am thinking? I think ultimately, it’s not just about being good
rebound. on the drums, it’s about really honoring what you love. Our job is
MD: Since you are left-handed while playing a right-handed setup, to heal the world with what we play, but you heal the world first by
how and why does your cymbal setup change, if at all? Does it affect healing yourself.
your mindset as a drummer? MD: Is that the advice you’d give to someone who’s trying to put
SL: I love that question! My main ride cymbal is a 26” 13th themselves into, and break themselves into, the scene?
Anniversary Agop and, although it’s hard to play, it sounds gorgeous. SL: I would say follow what you really love. Mark Guiliana told me
Then I have a 20” Epoch crash which is quite gorgeous too. Those are something really sweet, “Trust your gut and follow your bliss.” I think
the two favorite cymbals that I own. In terms of setup, sometimes that he put it more eloquently than I ever could. I think at some
having the openness of both cymbals to my left creates different point you have permission to follow what you have. Sometimes that
visual realizations. Just in the movement of it all. If I move from one can make other people uncomfortable, but our job is to become the
area of the kit to another, I am still thinking about all these different best that we can be. Don’t be afraid, love what you love.
sticking patterns. I have found that different ways to set up creates
Check out Steve’s Modern Drummer profile page at moderndrummer.com

Presents: Lessons From The Greats
The Joe Morello Collection
Master Studies Master Studies II

This book focuses on these important Like Master Studies, this is a
aspects: accent studies, buzz-roll workbook of material to use in
exercises, single and double-stroke developing the hands for drumming.
patterns, control studies, flam patterns, Challenging exercises encourage
dynamic development, endurance students to learn slow, sensible and
studies, and much more! accurate practice techniques.
Rudimental Jazz
The precursor to his two most widely used instructional books – Master Studies and Master Studies II – this book
covers: techniques such as right and left hand grips, playing position, striking the snare drum & hi-hat and more;
beginning exercises; drum beats; teacher’s charts; graphic cutouts and more.
Available In Print and Digital Format

BUY FROM YOUR FAVORITE MUSIC RETAILER
CHECK OUT MORE AT MODERNDRUMMER.COM
COLLECTOR’S CORNER
Donn Bennett’s Drum Vault

Ringo Starr Ludwig “Pizza” Drum Set
By Donn Bennett
T he impact that Ringo Starr has made on the drum world cannot
be overstated. He inspired generations of drummers to pick up
the sticks. His drums and drumming have inspired endless research
Trinity of The Ringo Geeks. Jeff Chonis is Ringo’s trusted drum tech
since 1989, Gary Astridge is an internationally recognized authority
on all things Ringo and is Ringo’s personal archivist, and Gregg
into the deepest minutiae of every stroke he ever played and every Bissonette has been the “other” drummer in Ringo Starr’s All Starr
drum or cymbal he ever played. Subsequent generations had their Band since 2008. Between the four of us we, can probably account
own “Ringo’s.” Keith Moon, John Bonham, Neal Peart and Taylor for virtually everything that Ringo Starr has ever said, done, or
Hawkins were their generation’s “Ringo’s.” Even before Ringo and the played.
Beatles, Buddy Rich and Gene Krupa were “Ringo’s,” but Ringo is the I got a call from Jeff Chonis about a month ago. He’d been
Original Ringo! Ringo was an “influencer” long before we even had a contacted about a Ludwig Super Classic drum set that Ringo had
word for it! played in a 1995 TV commercial. The current owner was hoping to
My Ringo fascination has led to countless hours of research find the drums an appreciative new home. We were a little amazed
(geeking) on all things Ringo. Somehow, I’ve managed to steer (and slightly embarrassed) that neither of us knew anything about
that obsession into a career, but I’m not the only one. I refer to my Ringo and this set. Even Gary Astridge drew a blank. Only Gregg
friends, Jeff Chonis, Gary Astridge and Gregg Bissonette as The Holy Bissonette remembered Ringo playing this set in a 1995 Pizza Hut
commercial. Gregg either has
the best memory out of all of
us, or he watched a lot of TV
back in the 90s!
The ad was filmed in
Vancouver, BC 1995. In the
ad, Ringo spoofs what the
viewer is led to believe is
an announcement to re-
unite the Beatles, with the
announcement of Pizza Hut’s
newest pizza crust. Ringo
is seated behind this 1964
Ludwig Super Classic drum
set, that is almost identical
to the set he played for the
majority of his years with
The Beatles. The set was
sourced from the collection
of a well-known Canadian
drummer living in Vancouver
at the time. He had recently
acquired the set from Charlie
Donnely, one of the earliest
pioneers of vintage drum
collecting.
The set is finished in Blue
Oyster Pearl finish. The set
Ringo Starr most famously
played in The Beatles was
an identical set only in
Black Oyster Pearl. The two
marble-like finishes are very
similar and easily confused,
particularly when the brighter
blue veins of the Blue Oyster
Pearl finish have faded to a
more grayish color as has
happened with this set. Just
like Ringo’s most famous
The Pizza Set as it looks today
Beatle set, this 1964 set

consists of a 14x22 bass drum, 16x16 floor tom and a
9x13 mounted tom. Rather astonishingly, the snare
drum, just like Ringo’s is a slightly earlier Jazz Festival
model. It is also set up in what is now commonly
referred to as the “Ringo Spec” configuration. That
means the muffler, badge, and throw off are all
mounted on consecutive panels of a 5.5x14” shell.
Except for the slight fading of the Blue Oyster Pearl
finish, the set is in near perfect condition.
One notable “flaw” on the set is the partially
damaged Ludwig logo on the bass drum head.
Ironically, it’s story is eerily similar to the story of
how that same Ludwig logo ended up on Ringo’s
original bass drum head. As that story goes, after
selling Ringo his first Ludwig drum set, the shop
keeper began to remove the Ludwig decal from the
bass head. Ringo, who was enormously proud of his
new Ludwig drums, insisted on leaving the logo in
place. A few months later, when The Beatles were
introduced to the world on the Ed Sullivan Show, that
Ludwig logo was seen by millions of viewers leading
to a staggering 600% increase in sales virtually
overnight. A similar story occurred while filming
Ringo’s pizza ad. The director preferred the look of
A shot taken from the film set right
a blank bass drum head and covered the Ludwig before the Ludwig logo got taped over.
logo with white tape. After a little debate with the
most famous drummer on the set, it was decided
to remove the tape and once again, let the classic
Ludwig logo be seen. Unfortunately, when removing
the tape, it took some of the decal with it. In the
stills from the ad, you can clearly see the damaged
Ludwig logo, exactly how it remains today.
Hopefully bringing this set to light will give all
of us Ringo geeks something new to talk about for
years to come. It might even give someone the
opportunity to own a set with some real Ringo
history.
A screenshot of Ringo
and the Ludwig
Superclassic set, note
the damaged Ludwig
logo.
The Jazz Festival Ringo Spec snare drum.

5.5x14 with the muffler badge and throw
off on consecutive panels.

EYE CANDY
Tommy Clufetos’ Black Sabbath Tour Kit
B lack Sabbath’s tours always combined

the heaviest of heavy metal sounds with
the most outrageous spectacle possible.
The kits created for Tommy Clufetos by
Drum Workshop for those stores reflect that
spectacular approach
Although the finish of Tommy kits changed
dramatically from tour to tour his basic
configuration did not. Each tour kit combines
a bevy of small and large single-headed
concert toms with two 16 x 24 bass drums, a
10 x 14 rack tom on a snare stand, 16 x 16 and
16 x 18 floor toms, and an 8 x 14 snare drum.
The black gloss kit shown here was used on
the first half of Sabbath’s 13 tour and features
mahogany shells. This kit is topped by a
collection of nine or ten cymbals and backed
by a massive gong all from the German
cymbal manufacturer Meinl.

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MODERN DRUMMER CLUB NFT SEE PAGE 57

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4 Modern Drummer May 2022

This month’s Modern Drummer Kit of the Month comes from

6 Modern Drummer May 2022

To learn more about Peter grab

Check out Peter’s Modern Drummer profile page at moderndrummer.com

Essential Factors for success in the gym:

I n the last issue, we examined the myth of the muscle-bound

Factor #1 - Volume Stays Low

10 Modern Drummer May 2022

May 2022 Modern Drummer 11

Day 1 – Push 75 Degree Incline DB Press 2) Neutral Grip Rack Chin Up

a straight bar. If you have access to a good

One Arm Cable or Machine Row Barbell Hip Thrust

Incline Press Incline Row

set. Keep your spine neutral. Try to maintain

5) Barbell Romanian Deadlift

6) 1 Arm Preacher Curl

14 Modern Drummer May 2022

May 2022 Modern Drummer 15

Zildjian FX Raw Crashes

B eing the most undefinable cymbals Zildjian has ever

16 Modern Drummer May 2022

18 Modern Drummer May 2022

L ike many of you reading this, I have been using

May 2022 Modern Drummer 19

O n March 25, 2022 musicians, drummers,

20 Modern Drummer May 2022

May 2022 Modern Drummer 21

22 Modern Drummer May 2022

final piece of the puzzle in creating exception.

May 2022 Modern Drummer 23

24 Modern Drummer May 2022

May 2022 Modern Drummer 25

just had a very creative undiscovered gem.

with the famous interviewers, and self-titled debut was a wakeup to

26 Modern Drummer May 2022

May 2022 Modern Drummer 27

contract elsewhere. This

28 Modern Drummer May 2022

May 2022 Modern Drummer 29

Courtsey of Drum Workshop Jose Altonaga

30 Modern Drummer May 2022

Having met Taylor Hawkins just once, my memory is of how

Taylor had been out to a couple Styx shows in LA and we also

A great guy, ferocious drummer, wonderful spirit! You are

Unfortunately, I never got the chance to meet Taylor. I did

(PSKDVL]HSOD\ORXGHUQRWHVZLWKWKLVPDUN