127

INTERVIEWED: JUNGLE DRUMMER, MARK RICHARDSON, JOSH DEVINE, JOHN DECHRISTOPHER

S
DRUMMER MAGAZINE
Issue 127 APRIL 2014

WWW.DRUMMERMAGAZINE.CO.UK
DRUMMING MATTERS
JOHNNY JENKINS • JUNGLE DRUMMER • MARK RICHARDSON • JOSH DEVINE • JOHN DECHRISTOPHER • PLUS : NEWS • REVIEWS • FEATURES • TUITION

V
W IN!
K DRU
CARB MS 6”
O N
REVIEWED: SIDE S FIBRE
NARE
MAPEX ARMORY KIT
PAISTE 602 MODERN ESSENTIALS
J.LEIVA MEZQUITA CAJÓN
FUSION CASES
+ MORE

JOHNNY
UK £4.50 Issue 127 April 2014
JENKINS
FROM EXAMPLE TO LILY ALLEN, WE SPEAK
04 TO THE DRUMMER PROVIDING THE BEATS
9 771741
7 215060 > FOR A HOST OF MODERN STARS
PLUS: RECORDING FOR 2014, CAUGHT LIVE, GIG GUIDE, DRUM TECH DIARIES + MUCH MORE
001 Cover 127_rev2.indd 1 12/03/2014 11:25
002.indd 2 11/03/2014 11:51
003.indd 3 10/03/2014 18:01
 Contents

On The One…
I recently had the privilege of attending the Jenkins can regularly be found touring arenas in
ISSUE 127 London Bass Guitar Show, which is the sister the company of artists including Example and
show of our very own London Drum Show, Lily Allen, while Skunk Anansie’s powerhouse
Editor: Nick Carter, nickc@blazepublishing.co.uk where bass players from all styles and genres Mark Richardson is truly a force of nature when
Sub-editor: Catherine Kaye, Nick Robbins came together for a weekend of low-end witnessed in a live setting. We also speak to
Assistant editor: Dean Hendy rumbling fun. One thing that struck me was Jungle Drummer, who after an enforced break
Feature writers: Brent Keefe, Nick Hopkin, Martin Oldham, the camaraderie between not only the artists due to injury, is back in the spotlight thanks to
Martin Ranscombe, Tom Derryman, Dean Hendy, Andy and exhibitors in attendance, but also the many his incendiary live playing. Josh Devine, who has
Hughes, Kevin Baird, Neil Phillips, Stephen J. Good, Sven
Dupon
visitors wandering the hall. Not dissimilar to the toured the world several times over with One
Design: Steve Dawson, Matt Smith
level of friendship and respect shown between Direction gives us his final word on drumming,
Advertising Manager: Neil Golding, 01271 858941,
drummers at events of this kind, our partners in while we bring you reviews of two recent drum-
neil@blazepublishing.co.uk time also appear to have a genuine passion for led events. Not to ignore the countless other
Studio photography: Thru-A-Lupe Photographic sharing their knowledge, with expectant crowds aspects of our musical lives, however, we also
Cover image: Thru-A-Lupe Photographic attending masterclasses and main stage events bring you an exclusive interview with John
Music (Note) engraving: Kevin Sanders with eagerness and enthusiasm. This got me to DeChristopher, who for many years was head
Tuition contributors: Phillipe Castermane, Jungle thinking about several conversations I’ve had of artist relations in the US for Zildjian, and is
Drummer, Pete Lockett, James Hester, Steve Timms, Jamie with musicians over recent times regarding the perfectly placed to give us an alternative view on
Smale, Dean Hendy, Steve Rooney
current music scene. While there does seem to our chosen industry. Plus we continue our look at
Published by: Blaze Publishing Ltd.
Lawrence House, Morrell Street, Leamington Spa, be a level of apathy in the current live music recording for the modern era, this time focusing
Warwickshire, CV32 5SZ scene – gigs only half attended and in some our attention on kick drums.
Distribution: Distributed to the news trade by Comag cases even less – nothing beats playing live, or All of this plus our regular
Magazine Marketing, West Drayton, Middlesex, UB7 7QE
indeed seeing music played live. While having mix of fresh features, top-
Operations director:
access to thousands of Youtube clips and such flight tuition, the tastiest
James Folkard
like is a superb resource for any musician, new gear and up-to-the-
Assistant publisher:
Ruth Burgess nothing beats the energy and passion portrayed minute news makes for a
Publisher: in a live gig setting. packed issue, so sit back,
Wes Stanton This ties in nicely with this month’s issue, as we relax and enjoy...

Nick, editor
Accounts: speak to a host of players well known for their
Dave Deo
approach to live playing. Our cover artist Johnny
Subscriptions:

Reviews
subs@blazepublishing.co.uk
01926 339808
Subscription rates:
UK £64.20
For all subscription offers and overseas
prices visit www.virtualnewsagent.com or
telephone the subscriptions hotline on
62 Mapex Armory
01926 339808.
Printed in the UK
Series kit
Following our review of Mapex’s new range
© Blaze Publishing Ltd 2014
All Rights Reserved. No part of this publication may be of snares last issue, we take a close look at the
reproduced in any form, stored in a retrieval system or full kit
integrated into any other publication, database or commercial
program without the express permission of the publishers
in writing. Under no circumstances should this publication 66 VK Drums 6” Carbon
and its contents be sold, loaned out or used by way of trade,
or stored or transmitted as an electronic file without the Side Snare
publisher’s prior written approval.
Disclaimer A drum that proves good things do come in
While Blaze Publishing Ltd prides itself on the quality of the small packages 66 VK Drums 6”
information its publications provide, the company reserves
Carbon Side Snare
the right not to be held legally responsible for any mistakes
or inaccuracies found within the text of this publication. 68 Paiste 602 Modern
Drummer Magazine is an independent publication and as
such does not necessarily reflect the views or opinions of Essentials – Part I
manufacturers or distributors of the products contained
within. All trademarks are acknowledged. Precious metals designed in collaboration with
the legendary Vinnie Colauita

72 Fusion Premium
Series Drum Bags
Padded cases to keep your precious gear
protected

74 J.Leiva Mezquita
Follow us:
twitter.com/DrummerMagazine
facebook.com/drummermag
youtube.com/drummermag
cajón
62 Mapex Armory
When you have finished with this
magazine please recycle it. A traditional Spanish-built cajón with a host of
DRUMMER magazine is proud to support the Music Industries Association
interesting features Series Kit

4 DRUMMER April 2014

004-005 Contents_Rev2_NC.indd 4 12/03/2014 10:12

 APril 2014

Features
10 Audioscreen
We review the best new releases from the first
quarter of the year

INTERVIEWS
18 Johnny Jenkins
From Example to Lily Allen, we talk to the
drummer who has supplied the beats for some of
the biggest artists in the UK

26 Jungle Drummer
We speak to the reinvigorated drum’n’bass
supremo about the long road to recovery
from injury

32 John DeChristopher
The legendary Zildjian A&R man gives us the 18 Johnny Jenkins
inside take on his interesting career

38 Mark Richardson
Skunk Anansie’s powerhouse drummer gives
Regulars
us the lowdown on his blistering approach to
rocking the crowds 6 Newsbeats
98 Josh Devine 14 Vintage Drums,
The man who powers One Direction gives us his
final word on drumming
Legendary Sounds
16 Letters
42 The Riser
44 Drum Tech Diaries
46 Musicians’ Union
48 The Modern Way:
56 Caught Live: Recording for 2014
Morgan Ågren 26 Jungle Drummer
52 Multimedia For
Musicians
55 Gig Guide
56 Caught Live: Morgan
Ågren
58 Caught Live: Sakae Live
67 Competition
78 Tuition
92 A Problem Shared
94 Healthy Mind, Healthy
Body
38 Mark Richardson 96 The Future Drummer
April 2014 DRUMMER 5

004-005 Contents_Rev2_NC.indd 5 12/03/2014 10:12

 NEWS
NEWSBEATS
ALL THE LATEST NEWS FROM THE WORLD OF DRUMMING
GET YOUR JAM ON
WITH NEW
WEB-BASED
MEETING PLACE
A new site for musicians, www.meetandjam.
com, has recently launched, which aims to help
musicians find and connect with each other
as well as book studio time online. Musicians
can put up profiles, list their influences and
instruments, post video and audio, and then
connect with each other. The inclusion of video
means you can have a good look at other
musicians’ level and style before you contact
them – saving time and embarrassment once
you hit the studio.
The site is for all genres and levels of
ability, from professional players looking for
a new band, as well as enthusiastic amateurs
looking to play more. The free classified
ads section offers a chance for bands and
musicians to connect, but also the perfect
place for music teachers and students to get
together. The ‘Band Planner’ is a private space
for groups. They can message each other, use
the interactive calendar and list their gigs,
rehearsal and sound-check times. The bass
player will never miss another rehearsal!
Meet and Jam is also an online booking
system for rehearsal and recording studios.
Bands and musicians can browse through
dozens of UK studios, view their rooms and
kit, and then book online – with a simple
click and credit card payment system. It is
the only online booking system that has
been developed specifically for rehearsal
and recording studios, and is a simple
solution to an often complex issue. For more
information, visit: www.meetandjam.com
6 DRUMMER April 2014
006-011 Newsbeats_Rev3_NC_CK.indd 6
LEARN TO PLAY WITH
WELL-KNOWN NAMES
The cast of hit musical Once are to join pub landlord Al Murray at Yamaha Music London to celebrate
2014 National Learn To Play Day. Cast members from the multi award-winning musical and comedian
Al will be giving free music lessons at Yamaha Music London in Wardour Street on Saturday 12 April
to kick-start National Learn to Play Day 2014 organised by Music for All, the charity of the UK musical
instrument industry.
Yamaha Music London is an official instrument partner for Once. The musical has been a huge hit
on Broadway, scooping eight Tony Awards including Best New Musical in 2012 and continues to wow
audiences since opening at London’s Phoenix Theatre, where its multi-instrumental cast of highly
talented actors and musicians all sing and play live on stage. Britain’s most famous pub landlord,
who also happens to be a dynamo on the drum kit, returns for a third year to Yamaha Music London
following his previously successful and highly popular visits for the campaign.
The cast members and Al will be in store from 11am until midday to welcome music makers and
offer free guitar and drum lessons. Visitors can watch or take part in the sessions or lessons in piano,
guitar/ukulele, electronic drums and violin. Yamaha Music London tutors and experienced staff will
be on hand between 11am and 5pm to help customers try instruments and get started with a host of
special offers.
Statistics show there are 15 million people in the UK that either want to play an instrument or used
to play one. The day is designed to welcome people into music shops around the country and to
inspire them to get playing. People are often surprised to discover that they are musical and simply
need a musical experience to get them inspired to start playing.
Nigel Hill, Store Manager at Yamaha Music London told us, “We are delighted to welcome the cast of
Once and Al Murray to Yamaha Music London. This is a great initiative to introduce people to the fun
they can have making music, and what
could be more inspiring and fun than to
meet and have your first music lesson
with the cast of a West End Show and Al
Murray? We look forward to welcoming
visitors to Yamaha Music London on
Saturday 12 April and helping them take
their first musical steps.“
Paul McManus, chief executive of
Music For All said: “We are delighted
and proud to have so many talented
musicians supporting our event and the
public will clearly be able to have an
amazing time at Yamaha Music London!”
Al Murray is looking forward to
returning to Yamaha Music London and
says of last year’s visit: “It was brilliant!
All these people who dreamed of being
the next Phil Collins or Nick Mason had
a go and many of them enjoyed it so
much they went away confident that
they would carry on drumming.”
The National Learn to Play Day is
organised by the charity Music for All in
partnership with the Musicians’ Union,
Arts Council England’s Take It Away
scheme, MusicTeachers.co.uk and
Musicradar.com.
For more info, visit: www.
learntoplayday.com.
18/03/2014 11:06

PAISTE EXPAND PST RANGE
Paiste Sound Technology (PST) range offers
first-class manufactured cymbals and high-quality
sound design at an affordable price. The company
has recently updated its best-selling PST5 range
and launched a new PST7 range, which adds an
affordable line for drummers who like a traditional
sound, look and feel.
The new PST5 cymbals are lighter than before,
resulting in a deeper, warmer sound while
preserving its bright character. Musically open-
minded beginners will find a great starting cymbal
set with the 14”, 16” and 18” medium crashes,
20” medium ride and 14” medium hats. The 8”
and 10” splashes enrich the assortment with fast
responding effect cymbals. There is also an 18”
china available for drummers and percussionists
who want to add exotic colours to their sound. For
the first time in this class, Paiste has added a 14”
Sound Edge hi-hats, a legendary Paiste invention
that dates back to 1967. Paired with the 16” and 18”
rock crash as well as the 20” rock ride, this option
is an outstanding foundation of a cymbal set in
louder music styles. The 18” ride/crash has immense
versatility to use as a light ride for lower passages
or as a powerful crash with solid volume. PST5 are
made from 2002 bronze in Paiste’s German facility.
WIN A SET OF
ZILDJIAN AS
Zildjian, in association with its friends over
at The Drummer’s Database, has launched a
UK competition for a lucky drummer to win
PST7s are constructed from CuSn8 bronze that an A line cymbal box set. The cymbal box set
stems from the legendary 2002 series. The cymbals contains: 20” Medium ride, 16” Medium Thin
are lathed by Paiste’s Swiss hand craftsmen to crash, 14” New Beat hi-hats and 18” Medium
achieve their distinctive traditional finish. The result Thin crash. To enter the competition, it’s as
of the precise Swiss manufacturing is a warm and simple as filling in your name and e-mail
clear overall sound, and, by offering three weight address and then waiting until the end of
classes, light/thin, medium and heavy, PST7 covers March for the winner to be drawn.
a wide range of different music styles. You can enter the competition by
For the first time in this price class, the 20” simply heading to www.facebook.com/
light ride, 14” light hi-hat, 14”, 16” and 18” thin DrummersDatabase.
crashes offer drummers authentic sounds with
great sensitivity, airy warmth and a soft feel. The
14” hi-hat, 16” and 18” crashes and 20” ride prove
to be very versatile cymbals because of their
controllability. They are assertive, yet unintrusive,
making them suitable for pop, rock, dance, brass
band and numerous other musical applications.
If more volume and aggression are needed, the
16” and 18” heavy crashes, 20” heavy ride as well
as the 14” heavy hi-hats are the perfect cymbals to
provide meaty energy that is preferred for classic
and hard rock. Paiste completes the assortment of
PST7 with traditional effect cymbals: a 10” splash
and 14” and 18” chinas.
For more information about either range,
visit: www.paiste.com.

MANCHESTER DRUM PORTER & DAVIES UPGRADE

SHOW 2014
Sunday 8 June sees the inaugural Manchester Drum Show featuring the
latest gear from a host of companies, as well as performances throughout the
day from some of the UK’s most renowned players. Drummers confirmed to
perform are highly regarded teacher and Drumsense creator Colin Woolway,
percussion guru and Drummer regular Pete Lockett, and Skunk Anansie
sticksman Mark Richardson. On the exhibition front, companies confirmed
to be attending include Korg UK, Soar Valley Music, Remo, D’Addario, Tuner
Fish Lug Locks, P.M.T., Manchester Drum Centre, Amedia Cymbals, Hardcase,
VK Drums, Guru Drums, ACS hearing protection, World’s Fastest Drummer,
Pellwood Drumsticks and Pepler Drums.
The venue for the show is: The George H. Carnall Leisure Centre, Kingsway
Park, (opposite the Trafford Centre), Manchester, M41 7FJ. The show times
(public) are 10am-5pm.
For more information visit: www.manchesterdrumshow.weebly.com.
Porter & Davies is pleased to announce the latest and most significant
upgrade to its complete range of drum monitoring systems. The UK-based
design and manufacturing company, inventor of the BC2, BC2rm and BC
Gigster, has partnered with another British company, Precision Devices, to
produce its own bespoke dedicated tactile transducers, developed from the
ground up. The new transducer will be installed in all models for a greater
frequency response range. The new design will also make them even more
robust and roadworthy. Founders and co-inventors of the BC2, BC2rm and
BC Gigster Tim Porter and Dil Davies said: “While working on new products,
planned for launch later this year, we realised that what we needed was a
tactile transducer that could offer increased performance, greater power
handling and a different set of physical features than the Clark Synthesis
transducer we have been using. After careful research, Porter & Davies
partnered with Precision Devices to jointly develop a
product that would be better suited to our future
customers’ needs. We are so delighted and
impressed with the new tactile transducer that
we have decided to utilise it immediately!”
Precision Devices has over 25 years’ experience
in the design and manufacture of high-power
loudspeakers. Neil Barns, from Precision Devices,
says, “We were approached by Tim and Dil some
months ago to look at jointly designing a tactile
transducer that would suit their needs. We are
delighted to be associated with Porter & Davies and
their groundbreaking product portfolio.”
www.porteranddavies.co.uk.

April 2014 DRUMMER 7

006-011 Newsbeats_Rev3_NC_CK.indd 7 18/03/2014 11:06

 NEWS

AT EST N
L E
PRESS HERE E

W
FOR EXTRA

TH
DIGITAL CONTENT

S
w…
f ro

th
m

ho
is y s
FURTHER ear ’
s biggest d rum
ARTISTS AND
EXHIBITORS ANNOUNCED FOR THIS
YEAR’S BIGGEST DRUM SHOW
It is with great pleasure we announce that since the age of three, and grew up musically
three further outstanding drummers have playing in church, holding the drum chair
been confirmed to be joining the Mike Dolbear from the age of 10. Now 22, Dexter already has
Masterclass line-up at this year’s show... many achievements that led to his boasting
Jonathan ‘Ginger’ Hamilton picked up his a CV that many drummers would be proud
first pair of sticks at the ripe old age of three of. Having already played with artists such as
and has since worked with a variety of artists Ronnie Wood, Eliza Doolittle, Little Mix, JLS and
in the gospel, R&B and pop scenes. Coming Pixie Lott, Dexter is currently on tour with R&B
from a gospel background, Ginger developed superstar Rita Ora. EXHIBITOR LIST CONTINUES TO
his passion for music at an early age and Emily Dolan-Davies has been drumming EXPAND
quickly began to build a name for himself on since 1999 and performing since the age of Tuner Fish Lug Locks are the latest
the church scene, leading to his providing the 11 with bands – playing music ranging from company confirmed to be joining us at this
groove for top artists such as Jahaziel (MOBO rock to pop, blues, folk and afro-punk. Her year’s show, with companies confirmed so
Winner), Lisa McClendon (US gospel artist) and professional career began in 2008 playing far including...
Ron Kenoly (US worship singer/songwriter) with The Hours, who signed to Is Good Records, – Sakae
from the age of 14. He landed his first session and she spent two years touring around – Dream Cymbals
at 18, working with Destiny’s Child member the world. In 2010, she got a call from Bryan – Craviotto
Kelly Rowland, and since then he has gone on Ferry to be part of his corporate band and also – Murat Diril
to work with Pixie Lott, The Saturdays, N-Dubz, recorded on his album Olympia. In 2011, she – Rock Drummers
DJ Ironik, VV Brown, Peter Andre and Jessie J, joined trip-hop artist Tricky on his ‘Mixed Race’ – Drum Stop
to name but a few. world tour for a year, followed by a UK tour – Los Cabos
Born and raised in South London, Dexter and festival run with Cher Lloyd in 2012, while – Guru Drumworks
Hercules has also been playing the drums 2013 was spent touring around the UK with X – Gon Bops
Factor artist Janet Devlin – Custom IEM Company
promoting her album – Evans
Hide and Seek, and with – Meinl
jazz/pop artist Emilia – Pro Mark
Mitiku promoting her – PDP
album I Belong To You. – GEN16
With deep grooves and – Sabian
incendiary chops, Ginger, – Natal
Dexter and Emily’s – Tama
appearance at the show – Zildjian
promises to be a not-to- – DW
be-missed opportunity to – Korg
witness three of the UK’s – Mapex
finest players up close – Paiste
and personal. – Istanbul Mehmet
Head to www. – Dixon
londondrumshow.com – Sound Attak
to get your tickets now! – Headstock Distribution

8 DRUMMER April 2014

006-011 Newsbeats_Rev3_NC_CK.indd 8 18/03/2014 11:06

009.indd 9 10/03/2014 18:08
 feature

Audioscreen
WE TAKE A LOOK AT A SELECTION OF New Releases FRom THe lasT THRee moNTHs WORDS: BRENT KEEFE

PeTeR eRskiNe: No BeeTHoVeN

www.fuzzymusic.com
www.alfreduk.com
Having authored several truly excellent drum and music instruction books, Peter
Erskine now adds this excellent 320-page autobiography (also available in digital form
with embedded video and audio content) to his library. Although playing with the big
bands of Stan Kenton and Maynard Ferguson previously, it was Erskine’s tenure in the
legendary group Weather Report that brought him much wider attention, and his time
with the group is at the core of this book, with the title inspired by a quote from Weather
Report’s co-founder Joe Zawinul. Erskine sets the scene, recalling an amusing exchange
with Zawinul en route to his 1978 debut Weather Report gigs and continues his story,
incorporating his early studies at the Stan Kenton summer camps, Interlochen and Indiana
(with George Gaber), meeting and becoming friends with Jaco Pastorius, and his many
musical activities with Weather Report, Steps Ahead, Steely Dan and leading his own
groups. Erskine discusses equipment, family, relocating from New York to LA and much
more, with two excellent appendices where he discusses significant people in his story and
more than 50 of his notable recordings. Erskine is a fine raconteur and his book is equally
insightful, humorous, moving and educational. An essential read.

mike maNGiNi: THe GRiD

www.hudsonmusic.com
Over three-and-a-half hours, Dream Theater sticksman Mangini presents his improvisation
system, which collects existing musical components of time signatures, subdivisions,
dynamics, instrument sounds, limbs used to play a given example, musical styles, and
phrases into a grid, describing it as: “Seven categories that account for anything that can
be played.” Mangini initially demonstrates how several examples conform to the grid,
before explaining the categories in detail, and, although his explanations are basically well
thought out, he typically becomes rapidly more complex with his subdivisions and time
signatures. Consequently, the less experienced drummer may get lost with ease, although
the 57-page PDF e-book will certainly help. When using the grid for improvising, he suggests
only changing one component at a time to avoid too many ideas and concludes disc one
with a discussion/guided tour of his Dream Theater kit. On disc two, he covers technique,
ostinatos and balance at the kit and invites the student to improvise with six bars of groove
in any style followed by a two-bar fill, subsequently demonstrating this in Afro-Cuban and
funk styles. Mangini can undoubtedly play superbly and makes many great points, but
nothing here is applied to a specific musical context. The material is all well-presented and,
if you want to watch Mangini play, this is for you. However, if you are wishing to improve
your improvisation skills, but are not a fairly advanced player, you may come away feeling
somewhat overwhelmed.

RiCk laTHam: aDVaNCeD FuNk sTuDies

www.alfreduk.com
Latham’s Advanced Funk Studies, which breaks down the funk style popularised by the likes
of Steve Gadd and Harvey Mason, has become a standard drum text for many and featured
in Modern Drummer’s ’25 Greatest Drum Books Ever’. The book is available with two CDs but
Latham’s original video is now also available as a 70-minute DVD, where he demonstrates
a selection of the book’s exercises and also plays several tracks with a funk/fusion quintet.
Latham begins with the book’s introductory snare/hi-hat exercises, demonstrating them over
a quarter-note kick drum and playing in both regular and open handed (left hand on hi-hat)
style and continues through the eighth note, off beat, sixteenth note and open/closed hi-hat
exercises. He also demonstrates a few patterns (which are not notated in the book) with the
bass drum playing the snare part. The more groove-based combination exercises are next
(with Latham briefly explaining linear drumming) followed by fills and funk patterns, with
Latham concluding by playing four to six bars of each of the 10 solos in the book. If using both
book and DVD, the book’s notation is for three toms (two mounted and one floor), but Latham
uses five toms on the DVD and sometimes plays notes written for small tom on his third tom.
It’s great to see Latham play and hear his explanations but how useful the DVD will be to
students who already own the book will largely depend on their reading ability and familiarity
with the genre.

10 DRUMMER April 2014

010-012 Audiobeats_Rev3_NR_NC.indd 10 12/03/2014 10:15

 ZoRo: THe CommaNDmeNTs oF THe HalF-Time sHuFFle
www.alfreduk.com
Zoro’s latest book offers an excellent and comprehensive workout for those wishing to
improve their shuffles of both the regular and half-time varieties. Zoro begins with a
history of the half-time shuffle, recounting his earliest recollection of the groove played
by ‘Stormin’ Norman Roberts on The Temptations’ 1968 record ‘Live At The Copa’ and
continuing with other half-time shuffle masters Bernard Purdie (‘Home At Last’, ‘Babylon
Sisters’), John Bonham (‘Fool In The Rain’) and Jeff Porcaro (‘Rosanna’, ‘Mama’). The book
is essentially a detailed groove/co-ordination book with a multitude of graduated
examples including quarter note shuffles, eighth note shuffles, ghost notes, buzzed
notes, hi-hat accents, open/closed hi-hat patterns and more. The book combines many
examples that are merely coordination exercises alongside a host of very practical
grooves and concludes with 30 chronological transcriptions of classic half-time shuffle
grooves from all of the aforementioned plus Carlos Vega, Chris ‘Daddy’ Dave, Vinnie
Colaiuta and others. The book has no accompanying CD, but the student should check
out the masters by tracking down recordings of any or all of the 30 transcribed grooves.
This is another excellent educational resource from Zoro and could very well be the
definitive volume on shuffles.

Pat Metheny Unity Group
Kin
www.patmetheny.com
www.nonesuch.com
Augmenting his Grammy-winning
Unity Band (featuring saxophonist
Chris Potter) with Italian multi-
instrumentalist Giulio Carmassi,
Metheny has produced another
terrific album. ‘On Day One’ opens
the album with Potter and drummer
Antonio Sanchez providing a rubato
Elvin/Coltrane-like vibe, before
Sanchez sets up the 11-beat cycle
which underpins much of the track,
which develops into an epic on a
par with Metheny’s finest. Fans of
Metheny ballads will love the short
but sweet ‘Adagia’, ‘Born’ with its very
lyrical Potter contribution and ‘KQU’,
while those favouring a brighter
tempo may prefer the swift 12/8 of
‘Kin’ and backbeat lovers may opt
for ‘We Go On’. Sanchez, of course,
navigates the rhythmic chicanery
with ease, taste and drive, playing
a significant role in yet another
Metheny masterpiece.
Billy Cobham
Tales From The Skeleton Coast
www.billycobham.com
Cobham’s latest album, the third of
four dedicated to his parents, has a
definite Caribbean flavour on many
tracks courtesy of Junior Gill’s
steel pans. Cobham’s trademark
blend of Latin/funk/fusion is still
prevalent however, particularly on
the opening ‘Wild Pomegranates’,
‘Sal Si Puedes’, ‘Cap Breton’ and
the standout ‘Na Pasashok’. In
contrast, the acoustic and more
orchestrated ‘Insel Inside’ features a
string quartet, while Joel Almeida
provides Konakol vocals on
several tracks including ‘Konakol
Conversation’, where Cobham’s
shuffle groove underpins the
drum/vocal dialogue. Guitarist
Jean-Marie Ecay distinguishes
himself as a soloist, while Cobham’s
legendary grooves/fills are in
evidence throughout an album
that proves that, as he approaches
70, there is no sign of his musical
prowess diminishing.
Jeff Ballard Trio
Time’s Tales
www.jeffballard.com
www.okeh-records.com
In contrast to his work with Brad
Mehldau’s trio and Fly, Ballard’s
solo debut features a wholly
different trio, with Puerto Rican alto
saxophonist Miguel Zenon and
West African guitarist/vocalist Lionel
Loueke offering a diverse repertoire
combining free improvisation,
Gershwin, Bartok and Queens Of
The Stone Age. Ballard’s dancing,
chattering grooves drive Loueke’s
‘Virgin Forest’, while ‘Western Wren’
has hints of Ornette Coleman
and ‘Beat Street’ has a feel that
encompasses New Orleans, Africa
and Brazil, allowing Ballard to really
shine. The trio inject more intensity
and urgency into QOTSA’s ‘Hangin’
Tree’ than the original with Zenon,
in particular, excelling. Ballard has
produced a joyous, spirited and
highly listenable debut that is most
definitely not a drummer’s album
but a musician’s album.
Judith Owen
Ebb & Flow
www.judithowen.net
Having been greatly influenced
by the 70s troubadour singer/
songwriters, Judith Owen invited
the legendary musicians that
defined that genre, Leland
Sklar (bass), Waddy Wachtel
(guitar) and Russ Kunkel (drums),
to record. Their collective
acceptance reunites them on
record for the first time in 15
years, resulting in a very classy
album. Owen provided excellent
and heartfelt material for the
trio’s interpretation, including
the poignant ‘I Would Give
Anything’ and ‘You’re Not Here’
(both about the loss of her
parents), tempering such tracks
with an inventive cover of ‘In
The Summertime’ and a great
re-working of James Taylor’s
‘Hey Mister That’s Me Up On The
Jukebox’. In an age of increasing
technology, this is a welcome
album full of humanity.

April 2014 DRUMMER 11

010-012 Audiobeats_Rev3_NR_NC.indd 11 12/03/2014 10:15

 feature

New Releases
Drummer’s recommendED new releases

You may also like...

CD Round-up
In addition to those albums reviewed, there have been a host of other
notable releases in the first quarter of 2014. Eagle Rock (www.eagle-
rock.com) continues to release new recordings from the Montreux
festival archives with two notable CD/DVD packages being Chic’s
2004 performance featuring Omar Hakim grooving away on a lively John McLaughlin & The 4th Benmont Tench – You
set comprising greatest hits and Chic productions such as Diana Dimension – The Boston Record Should Be So Lucky
Ross’ ‘Upside Down’, and Sonny Emory nailing Earth, Wind & Fire’s (Ranjit Barot & Gary Husband – (Jeremy Stacey – drums)
back catalogue on their 1997 performance with some bonus footage drums) www.bluenote.com
from Montreux 1998 included on the DVD only. Additionally, Eagle www.abstractlogix.com
Rock reissue a selection of ‘3 albums on 2CDs’ including Fairport
Convention’s Moat On The Ledge, From Cropredy To Portmeirion and
XXXV featuring the stylish drumming of Dave Mattacks and Gerry
Conway, while Eagle Rock subsidiary Armoury reissued no less than five
Derek Sherinian albums (Inertia, Blood Of The Snake, Mythology, Black
Utopia and Molecular Heinosity) featuring a host of great musicians
including drummers Simon Phillips, Virgil Donati and Brian Tichy.
Those with a Latin preference may wish to head over to Mack Avenue
(www.mackavenue.com ) to check out Danilo Perez’s Panama 500
featuring both Brian Blade and Adam Cruz, or Alfredo Rodriguez’s
The Invasion Parade featuring drummer Henry Cole and percussionist
Phronesis – Life To Omar Hakim Experience –
Pedrito Martinez, while those requiring a mellower sound should visit
Everything We Are One
www.ecmrecords.com and check out Arild Andersen’s Mira, featuring
(Anton Eger – drums) (Omar Hakim – drums)
saxophonist Tommy Smith and Italian drummer Paolo Vinaccia or the
www.editionrecords.com www.omarhakim.com
ever tasteful drumming of Jarle Vespestad on Tord Gustavsen Quartet’s
Extended Circle. Recent notable releases from jazz/avant label Cuneiform
(www.cuneiformrecords.com) include drummer John Hollenbeck on
Claudia Quintet’s September and Robert Wyatt’s 68, which contains
previously unreleased 1968 solo recordings from the ex-Soft Machine
drummer and includes none other than Jimi Hendrix playing bass on
one track! King Crimson (www.dgmlive.com) fans should also investigate
three archive live releases from New York 1982, Philadelphia 1986 and
Milan 2003 featuring Bill Bruford and Pat Mastelotto.

Book Round-up
Alfred Music (www.alfreduk.com) is one of the leading music instruction Chicago – Live In Japan Status Quo – Piledriver
publishers and, in addition to the excellent Peter Erskine and Zoro books (Danny Seraphine – drums) (Deluxe Edition)
reviewed here, Alfred has also recently issued a host of great percussive www.amazon.com (John Coghlan – drums)
tomes including several snare drum books, notably Alfred’s Complete www.statusquo.co.uk
Snare Drum Duets and Alfred’s Complete Snare Drum Solos, both co-
written by Sandy Feldstein and Dave Black, and Jeff Moore’s CD/book
package Fundamental Drumstick Control. Mallet percussionists may be
interested in Kristen Shiner McGuire’s Mallet Percussion Workout, while
drummers wishing to incorporate hand
percussion into their set-up may want to
investigate Walfredo Reyes, Sr. and Elliot
Fine’s The 2in1 Drummer, which includes an
accompanying DVD. Carmine Appice’s classic
Realistic Reggae Rock and Realistic Double
Feet have been combined, expanded and
reissued in one volume with an enhanced
CD under the title Realistic Drum Styles, Robert Cray – In My Soul Polar Bear – In Each And
while A Beat A Week finds Wilco’s Glenn (Les Falconer & Steve Jordan – Every One
Kotche explaining and analysing 52 of his drums) (Seb Rochford – drums)
beats as played on his solo recordings and www.mascotlabelgroup.com/ www.theleaflabel.com
tracks by Wilco, Jim O’Rourke and others. Robert-Cray-Band/biography

12 DRUMMER April 2014

010-012 Audiobeats_Rev3_NR_NC.indd 12 12/03/2014 10:15

013.indd 13 11/03/2014 15:58
GEAR REVIEW
FEATURE

Words & Images: Nick Hopkin

English Classics: Premier

Royal Ace snare drum

T
o me, one of England’s finest wooden-shelled
snare drums is Premier’s Royal Ace. It was
favoured by many English players in the 60s
– Clem Cattini (44 UK hit singles), John Wilson (Van
Morrison, Rory Gallagher, numerous sessions) Brian
Bennett (Shadows), even Ringo played one on the
early Beatles recordings.
This flagship snare drum superseded the Super
Ace of the 50s, appearing for the first time in the
1963 catalogue in a 5.5” and 4” model, featuring
a small P badge. By 1966, the badge was bigger
and a 6.5” model became available, now in the
classic glitters and pearls associated with 60s
Premier drums. The drums feature three-ply birch
shells with beech reinforcement rings and die-cast
hoops as standard, art deco lugs in highest quality
chrome that still shine 50 years later, tone control
damper (single and double-dot) and a parallel
snare mechanism.
Let me explain this further: a central bar inside the
shell moves up and down when the snare lever is
thrown on or off. The snare wires themselves extend
further than the diameter of the drum, and clip onto
a small bar at each end (two 10-strand wires, called
the double 10). Wire tension is adjusted via a knob
at each end. ‘Why so complex?’, I hear you say. Well,
with the wires extending further than the diameter
of the drum, good response is ensured due to Unfortunately, the wires are no longer in replacement wires. This is something I’m working
contact with the shell at both ends. The catalogues production, and many of these snares in circulation on – watch this space!
from that time boast that “unwanted snare buzz is today are missing them. This is a shame, as these Expect to pay close to £200 for a drum in good
totally eliminated” and that it “brings snare response snare drums sound beautiful. You can get that real condition complete with wires.
to a new high level.” backbeat crack out of them, with the die-cast hoops
The drum was also available in a 4” model with drying the sound compared to triple-flanged. With
offset lugs as well as chrome-over-brass shell. This the wires loosened off a little, this snare is perfect for ABOUT NICK HOPKIN:
is rarer than the 5.5” shell that appears to have been jazz and a more sensitive sound. Nick Hopkin Drums opened in South Wales in
the most common. Most mid to late 60s Premier kits Many Premier players have a Royal Ace in their 2012, restoring and providing high-quality
would have come with a Royal Ace snare drum, so collection, although judging by the number vintage classic drum kits, snare drums and
they seem to be in abundance in the UK. of enquiries I receive, many are searching for accessories. www.nickhopkindrums.com

14 DRUMMER April 2014

015.indd 15 11/03/2014 15:30
Letters

Letters
GOT A QUESTION OR OPINION? LET US HEAR IT

Single Strokes
Matt (via e-mail): Really enjoyed the interview with Richard Jupp last
issue – superb player from a superb band.
Agreed, Matt. Their new album The Take Off and Landing of Everything is
excellent, and well worth checking out!
Anne (via e-mail): Great to see that Michéle Drees is performing at this
year’s London Drum Show – love her Jazz Tap project!
So do we, Anne. We’re excited that she’s able to join us at the show this year!
Gary Porter: I’ve just bought one of the Mapex Armory snare drums after
reading your review last issue: simply fantastic!
Glad you like it, Gary. You can also check out our review of the whole kit on
page 62.
Mark (via e-mail): Just got tickets to see Jeff Beck in May. Do you know
who’s playing kit for him at the moment?
That would be the superb Jonathan Joseph, who we’ll be catching up with
very soon!
Tuition troubles
I was hoping you might be able to give me some guidance as I start my drumming
career. I’m looking to take lessons, but I’ve ironically reached a sticking point before
I’ve even picked up any sticks. How often should I be practising? Having spoken to
a few teachers in the area, I was told that two lessons a week is the minimum when
I’m starting out, complemented by a good number of hours of individual practice.
However, money is tight, and I would struggle to pay for that amount of lessons.
I would be annoyed if finances got in the way of developing this into a serious
hobby or even profession, but perhaps it is an insurmountable barrier to entry?
Could I be entirely self-taught, or is it possible to get ahead with just a weekly or
even fortnightly lesson?
Nick (via e-mail)
Hi Nick, thanks for getting in touch. While having two lessons per week and
practicing two/three hours per day would be superb, in reality finances and other
commitments can often make this unviable. What I recommend to all of my
students, particularly those just starting out, is to have weekly lessons, as fortnightly
leaves slightly too long between lessons and can lead to problems with regards
technique and such. Practice-wise, a schedule of ideally around 20-30 minutes per
day is often most beneficial, as regular practice, no matter how much, is always
better than doing larger chunks irregularly as much of what we do comes down
to repetition and ‘muscle memory’. Self-teaching can often be fine, however, it’s
worth having some lessons to get you started so that you learn the basics: posture,
grip, set-up, and ideally a basic understanding of reading. This way you are better
equipped to understand what you are playing as well as making sure you don’t
develop any bad habits for the future. Good luck, let us know how you get on! ED.
LETTER OF
THE MONTH
A fishy tale
Hi Drummer. I really enjoyed your letter of the month last issue, and
just wanted to share with you a story from my days touring and
gigging around the UK with a fairly successful soul band. I was actually
the guitarist with the band (although I’ve since picked up sticks), and
the drummer we had at the time was a great player and great guy,
but slightly hot-headed and prone to losing his cool quite easily. This
particular gig, he’d had a bit of an argument with the trombonist in the
band, who vowed to get his revenge. Anyway, the gig in question was a
lunchtime show in a pub practically on the beach. Once set for the show,
the trombonist disappears for 10 minutes, which we all thought was to
cool off after his altercation with the drummer, but at the point in the
show where the drummer got his time to shine, playing a solo while the
rest of the band left the stage, the trombonist vanished again. This time,
however, he re-appears a couple of minutes later with the biggest fish
we’d ever seen (that it turns out he’d found earlier on said beach), which
he took round the back of the drum riser and used to hit the drummer
around the head mid-solo. Of course all of the band, and in fact the
audience, were laughing so hard that the gig just descended into chaos,
with the drummer not seeing the funny side, packing up his kit and
heading off into the sunset never to play with the band again. Just goes
to show you should never upset the brass section.
Paul (via e-mail)
Hi Paul, thanks for sharing. Although we see the funny side, we reckon
the drummer had probably had(dock) enough after that battering and
decided it wasn’t the plaice for him! ED.
contact us
www.facebook.com/drummermag
nickc@blazepublishing.co.uk
@drummermagazine | 01926 339808

WRITE IN AND WIN: OVER £100 WORTH OF VATER GOODIES for the letter of the month

14 DRUMMER February 2014

017.indd 17 11/03/2014 17:29
 INTERVIEW

“i did the Whole roCk thing,

and then When i got to College
i disCoVered that i CoUldn’t
aCtUally play at all
all”

18 DRUMMER April 2
2014
014

018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 18 18/03/2014 11:02


LEADING
BY
EXAMPLE
With a host of high-profile gigs under his belt, drummer Johnny Jenkins is a man in
the know when it comes to all things drumming, MD-ing and producing…
words: Dean hendy images: Thru-A-Lupe Photographic
W
hen first starting out, many
drummers, no matter what age,
dream of getting and holding
gigs with the biggest names in music. From
playing festivals in front of thousands of up-
for-it partygoers to appearing on TV in front
of millions of fans, this dream only turns
into a reality for a few. one such drummer is
Johnny Jenkins – not only does he currently
occupy the hot seat for Example, but he’s
also played with Lily Allen and The Streets.
take us back to the
beginning – how did you get
started playing drums?
“Well, I first got into drumming through
playing piano and guitar. I was about 12 or
13 years old and my brother got a Paiste
14” crash cymbal, a kick drum and a cheap
snare drum. he was about eight years old,
and I was actually playing it more than he
was, even though it was bought for him. In
my early teens, I got into rock music and I
was a grunge kid, so we got a Thunder kit,
which I bashed the crap out of! I was really
influenced by Dave Grohl – he was my first
main influence as a drummer. I listened
to a lot of 50s and 60s rock'n'roll before
018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 19
Johnny jenkins
that, so those were my main groundings in
drumming. I played with bands all through
my teens, just rock bands, and did the
London circuit like the Bull & Gate, all those
little pubs. This was around the time Feeder
had just started, before they became a
big pop band. We used to watch them all
over the place. We used to watch bands
like hole and I had tickets for nirvana, but
unfortunately Kurt died about a month
before I was due to see them, which was a
big shame as they were my real idols. I had
a couple of guys who were in classes above
me who were also in bands, and I idolised
those guys as musicians. They were great
players, but they had something a bit edgy
and cool about them. It wasn’t all about
showing off, there was this cool vibe, you
know? Anyway, I did the whole rock thing,
and then when I got to college I discovered
that I couldn’t actually play at all. I found
out what was needed to be a professional
musician and actually started to learn about
technique, music theory and all that kind of
stuff, so it kind of took on a new dimension
in college. Since then, my schooling
has mostly been playing – since leaving
university, it has been gig after gig after gig.”
April 2014 DRUMMER 19
18/03/2014 11:03
 INTERVIEW

We asked Example for

his side of the story
of working with Mr
Jenkins...
“I’ve been touring with Johnny since
2005 when he played for The Streets and
I was one of the support acts. Always
high-energy on and off stage, I knew
one day he’d play drums for me if I got
big enough on the live circuit. I was a
support act again when he was drummer
and MD for Lily Allen and since then he’s
been the most integral part of my live
show. Four years on and he’s still the best
in the business for me – I only know this
because other bands regularly tell me
this backstage at festivals. Unbelievably
talented and unbelievably overpaid, I still
wouldn’t want to get onstage without
him sat behind me on the drum riser...
even if he does stand up too often”

20 DRUMMER April 2014

018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 20 18/03/2014 11:03


From there, how did you end up
playing bigger gigS: did your
skills as an MD give you an
advantage in getting gigs?
“Well, it was The Streets that was really my
big break, you could say, when I was 21. I
did everything I could to hold on to that gig
because I know that kind of thing doesn’t
happen to everyone. So I worked really hard
and that was how I developed into becoming
an MD as well. It was that skill set I had through
uni, but I was kind of allowed to elaborate on it
through The Streets. I was given a free rein and
developed my role into an MD. I think it was
one rehearsal, about three or four years into
The Streets, someone started calling me MD. I
can’t remember who it was, it may have been
Mike [Skinner] or Morgan Nicholls, who was
the bass player at the time. They used to joke
about it going: ‘MD, what do we do here?’ and it
was a role that I just naturally fell into. I think it
was just because I had the background in music
theory, and it fell into place somewhere along
the line. Everyone had the same experience; it is
just that technical thing.
“When we started off with The Streets, we
had no idea what we were doing. No one really
cared, we were just playing Skinner’s records
because we loved his music. When we started
playing bigger rooms, it was necessary to work
out the order of the songs, how the dynamic
was going to work, sorting out a set list, and
I think I just fell into that role. I realised that I
liked doing it, and I was quite good at it, and
that continued when I started working with Lily
Allen. That was when the skills I had learned
working with The Streets really came in useful.
It was a proper pop show, and I needed to work
out how to make a show, get the songs in the
right order, and work closely with Lily. It’s been a
learning curve, it was never something I set out
to do – I don’t know if anyone really does. I think
you just find you are a little bit more organised
than the bass player!”
018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 21
Johnny jenkins
So does your role as MD
affect the way you approach
the drums?
“Yeah... I think I used to play a lot for myself – I
think a lot of musicians do – and then it dawns
on you that you are doing this for a job and a
career and you are not just messing around in
your room anymore. I’m not sure if MD-ing has
changed my playing too much, though. I think
it has meant that I have less time to focus on my
drum parts, so when I get to it, I just do what I
need to do and that’s it. I am busy listening to
mixes, and working out what should be where.
I think it has helped me to just do the simple
things and just play what is required.”
Was using electronics
something that you wanted to
get into as a drummer?
“Initially no. Electronic music is something that I
never liked. It is weird and ironic that I have ended
up working in it. I think the style I have brought to
it is quite a simple, rocky style; like a Dave Grohl
style. I think that is what people liked about it,
because it wasn’t technical-session playing, if you
know what I mean.”
When you first joined The
Streets, was that more
electronic than anything you
had done before?
“At that stage I had never played electronic
drums before. In the beginning, all Mike would
let me have was an acoustic hi-hat and nothing
else. I used a Roland V kit when they first came
out – it was great. He only let me have a hi-hat,
no cymbals, nothing, so it was literally playing
his samples. That schooled me in playing at a
professional level. I guess for me, in the beginning,
even though it wasn’t something I had aimed
to do, I jumped on it and I still do it to this day.
I still approach everything like that. If it’s a new
project, even if it is not something I want to do, I
still jump on it. I think with all the electronic stuff,
April 2014 DRUMMER 21
18/03/2014 11:03
 INTERVIEW

I was never that good at it, but pushing myself

into things I’m not that good at, and unexpected
things, has kept me busy when I was not Gearbox
drumming, and it’s something to fall back on.” Gearbox
Drums: Gretsch
USA Custom
With a show like Example’s, how
Colour: Satin Black
much preparation is involved? 8”x7”, 10”x7”, 12”x8” toms
“When we do a run like the last tour, I’ve always got 16”x14” floor tom
a couple of weeks set aside to do programming. 22”x18” kick drum
I’ll talk to Elliot [Gleave, aka Example] about the
set, the show, the vibe we want to create, and then Snares: Chequerplate
we’ll craft a set and that takes a few days bouncing Custom LED snare drums
ideas back and forth. It’s a creative process – you 10”x5”
can’t really rush it, so we leave a bit of time to do it. 12”x5”
I’ll do an evening here, a morning there. Once that 14”x7”
phase is done, I like to try and sit behind the kit for a
Electronics: Jobeky
couple of weeks, but I don’t get much chance these
10“x5” LED ePads w/mesh heads (x4)
days to squeeze the time in. Before we go into full ddrum Triggers
production rehearsals I like to hit the kit for one or
two hours a day and warm everything back up. To Cymbals: SABIAN
be honest, you don’t need a lot of time to maintain 9” Nano hi-hats
as long as you are keeping everything warm – a 13” Vault Fierce hi-hats
little bit every day works. So in the down time I keep 14” HHX Groove hi-hats
that going, and when the tour is coming up I just 16” HHX Evolution O-Zone crash
spend a couple of hours a day and lift the level.” 18” Vault Fierce crash
18” AAX Omni crashes (x 2)
21” Vault Crossover ride
It looks like the current tour is 12” Evolution splash
pretty intense and needs a lot 12” AAX O-Zone Splash
of energy. Is this something you Plus:
have to incorporate into your Chequerplate C-Disc cymbal illumination
preparation?
“I do. I stay healthy. I don’t know why I got into it, Sticks: Vic Firth
but I went to America with The Streets and I went 55a models
to Los Angeles for the first time when I was 22.
They eat all kinds of raw food, a cold juice vibe, Heads: Remo
All Emperor clear
which is now getting a lot bigger in this country.
Except a Drumport 22” kick head
What these people were doing – drinking green
stuff – interested me a bit. When I got back to Other:
England, I realised why they were doing it: to keep Hurom Slow Juicer
the energy levels up. On the tours we used to do
with The Streets there was always a lot of drinking.
It’s calmed down now as we have gotten older,
but one thing that has got me through is that diet
knowledge. When I am off tour I look after myself.
I realise that it’s not always like that: you have to

22 DRUMMER April 2014

018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 22 18/03/2014 11:03


let your hair down once in a while! But on tour,
the diet thing is massive. You either eat in random
restaurants, or unhealthy food. You have to go
back to wholefood – everyone knows it, very few
people actually do it. A guy I really admire is Steve
Barney. He’s had problems with his health. He is a
classic touring drummer, been doing it for years,
obviously eating lots of fried greasy food. You have
on-tour catering, and you eat a full English every
morning. That’s all good, but if you continue that
into your life at home, as you get older it starts to
show. I am 33 this year, and already I can start to feel
the difference in my body. I don’t think Steve was
018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 23
in a healthy way, and now he has turned around
completely, and it’s good to see. I really think that
makes a big difference to your drumming because
it is such a physical instrument.”
With a gig like Example’s,
because he’s a songwriter and
producer, how much freedom
do you have in terms of what
you play?
“That’s a difficult question actually. This week, we
have been building the set together. I think he
trusts me now. In the beginning when we first
Johnny jenkins
started, he had a DJ, a guitarist and a bass player.
I would go to loads of his gigs and tell him he
should get his drummer back. He was like, ‘No no,
I’m doing the electronic thing now.’ I persuaded
him to try it, explaining that I’d bring my trigger
system with me. He was saying he didn’t think
it was going to be as tight, or sound as good
production-wise, but after we got over that initial
worry, he trusts me now, and lets me do whatever
I like. He has never said to me: ‘Don’t play this or
don’t play that’, it’s kind of obvious. When we are
in rehearsals, we all mess about, but when we get
on stage, it’s his music we are there to create. He
April 2014 DRUMMER 23
12/03/2014 11:21
 INTERVIEW
doesn’t shout at anyone: he’ll take the piss out of
you for wearing the wrong jacket, but that’s about
it. Another thing is I’m a bit of a perfectionist. I
often get involved quite heavily with the mix and
the sound engineering, which is something you
don’t often get. It’s their area, you don’t really want
to intrude on the sound engineer because that
is their skill, but I think that where we have really
excelled is that everyone can take criticism in the
band, and we can all speak to each other. So I can
speak to the sound engineers, and they can speak
to me. It’s all about being friends and being really
open. If the bass player doesn’t like something,
he will say so – there's a real openness there. I
think one key thing is that we all get involved
in each other’s areas, so I think we all produce it
really. Andy, the bass player, writes stuff for Elliot.
The front-of house engineer Andy Parker, who
was in Groove Armada for years, spends hours
listening to get the right kick drum sound, and
then the right bass sound and does all the EQing.
Then we’ll listen to it on the big rig and compare
it until we get it sounding perfect. I think it’s great
that Elliot invests his money in us doing that. He
knows it’s important, and he does the same with
24 DRUMMER April 2014
018-024 Jenkins - with third ad_rev5CK_NC_NR_CF.indd 24
the lighting as well. It’s nice to work with someone
who cares about those things. Even when we
are programming this week, he is coming down
because he wants to know about the new drum
system we’re using.”
So how would you describe
your kit? Because even though
it looks quite small, it is a
monster of a kit...
“It’s an experiment really. I ended up forming a
small company with a guy called Steve Poensgen
who used to run The Drum Corner in Shrewsbury,
which was quite a big shop. I wanted to do a
project with Gretsch to make an acrylic kit, no
lights or anything like that, just an acrylic kit. Not
surprisingly, they said they don’t make acrylic
kits, and Heritage Drums said the same thing, so
I decided to build this thing with Steve. He had
some crazy light-up lugs and stuff, and he really
knows what he’s doing. He had a drum shop for
a long time, and he can tune drums better than
anyone I have ever known, it’s incredible. So we
made a couple of snare drums, and they were the
best snares I have ever heard. They were acrylic,
so I said we should build a whole kit. So I invested
a little bit of money and we made part of the kit.
It sounded great and it looked really cool. No one
else was doing it, so we expanded it and made
the whole thing. We formed a little company
called Chequerplate Drums, and it's still ticking
over – we’re still selling kits now. As far as the kit,
it’s based on my Gretsch USA Custom that I had.
We took the shell sizes and stuff, and it’s served
me really well. For live, acrylic is as good as any of
the other kits I’ve played. It’s loud, powerful and
it does its thing really well. It’s maybe not best
suited for recording so much, but for live, I think
it’s the complete package. When I heard Dom
Howard [Muse] play his acrylic kit, his Tama kit,
maybe with RCI shells, I loved it. Acrylic just does
that thing very well – it looks cool, and it works,
so the whole thing just came together. I also use
Jobeky B pads. I don’t know if you know Jobeky,
but Colin and Jane are lovely people and really
looked after us. This year, some little changes
are happening: I am going to be using a Gretsch
again, but I’m going to mix it with the LED stuff,
so look out for that!”
Follow Jonny on Twitter: @jonnydrummachine
18/03/2014 11:03
025.indd 25 11/03/2014 08:55
 INTERVIEW

THE

TO

26 DRUMMER April 2014

026-031 JD_rev4CK_NC_NR.indd 26 18/03/2014 10:58

 jungle drummer

Drummer regular Jungle

Drummer discusses his
incredible journey through
injury, misdiagnosis and
what it means to be finally
back behind the kit
Words: Nick Carter
Images: Thru-A-Lupe Photographic

W
hen you’re looking at the music scene,
one style that stands out in terms of
energy and excitement is drum’n’bass,
and one drummer who knows exactly how
to keep a dancefloor moving is The Jungle
Drummer. Having performed with ground-
breaking live acts including London Elektricity
and his long-time cohort DJ FU, Jungle has been
responsible for the movement of thousands of
revellers at clubs, festivals and events throughout
the world. All of this comes at a price, however,
as he found out a couple of years ago when a
potentially career-ending injury forced him to
quit the spotlight for a considerable amount of
time. Now back playing, Drummer caught up
with the pioneering junglist, and we wanted to
get the full story, in all its frankness, about his
almost two-year absence…

Can you explain what the

problems were that forced
you to take such a long
break?
“Basically, it was a combination of factors due
to my physical and mental health. It was a crazy
time, as around the same point a couple of
members of my family had passed away and
one of my closest friends got sick, and it really
affected me. So mentally things weren’t great,
and then in April 2012 I was really stressed and
started getting pain in my left thumb. I kept
drumming – carrying on the lifestyle I was living
while still playing shows, and it got to the point
where I was really freaking out about it. Then
the same thing occurred in my other thumb.
When that happened, I had a kind of breakdown
as I was so stressed. I was on medication
because things were so difficult, and due to the
pain in my hands I just had a massive collapse
in my life and career at the same point. It was a
massive shock, but looking back on it I needed
something like this to happen, as I needed to re-
evaluate my life so I could make changes. I was
actually trying to change things at the time: I’d
stopped smoking, drinking and drugs, and was
trying to clean my life up, and this just spurred
me on to do it seriously and get help to change
my body and my mind.”

What do you think led to the

problems?
“I think it was probably a range of things: grief,
the lifestyle that I was leading, playing in clubs

April 2014 DRUMMER 27

026-031 JD_rev4CK_NC_NR.indd 27 18/03/2014 10:58

 INTERVIEW
– I wasn’t very happy with my life, I wasn’t very
happy with myself, I wasn’t happy with music
and basically I was touring all of the time and
I started to get really deflated with everything
and I just wanted a break from it. I took a bit of
a break, and that’s when things started going
crazy mentally, but physically, negative things
had been happening for years. I’d kept on with
the drinking, doing drugs and not drumming
from a technical perspective, just smashing the
daylights out of the drums at shows to get paid.
I was already getting problems with my hands
and getting various injuries, but I kept on using
drink and drugs to get through, thinking ‘Oh,
it’s just another injury and it will soon go!’ This
time, it’s taken me almost two years to get to
where I am today, going through a lot of more
downs than ups to get to a point where things
started to change.”
Could you talk us through
the diagnosis and treatment
of your injuries?
“Well, I went to the hospital and they originally
missed the breaks in my hands – I went round
in circles for a year with problems, not actually
realising my hands were broken. I had two
breaks along with severe swelling and I now
have to wear thermoplastic splints that basically
I got after going to private hand specialists. I
went to loads of different people and, to be
honest, the worst people – the ones that were
incapable of dealing with my problems – were
the most expensive. I wasted months and
months getting wrongly diagnosed, which all
the time was actually making my hands worse.
After almost a year and a half of going round in
circles, a specialist suggested having MRI scans,
which finally found the cause of the problems.
I remember the guy at hospital telling me what
was wrong and I cried because I was so relieved.
After all this time of not knowing what was
wrong and not being able to work, being in
severe pain and not being able to play, I was
mentally drained. Everything was revolving
28 DRUMMER April 2014
026-031 JD_rev4CK_NC_NR.indd 28
I was doing before the injuries took hold.
When I couldn’t drum, I was so freaked out
thinking that I’d blown it and that I wouldn’t
get another opportunity to drum again, it
was getting me so stressed out that I would
sit with my friends, or go out for walks and
I’d be looking at my thumbs and my hands
the whole time worrying about the pain. All
of my friends would be telling me just to try
and calm down, and I actually ended up on
anti-depressants, which, although I’m not
ashamed of, I wish I didn’t have to be. The
idea of doing something different other than
drumming was unthinkable. My life before was
all about drumming, but I never valued it, and
it took all of this to make me really appreciate
it. It’s been a horrible experience to have to
constantly think that you can’t do something
that you love, and it’s really made me think
around my hands, and when you’re not getting
the right advice or diagnosis, you can’t start to
treat your injury, as you don’t actually know
what’s wrong. I had to go through a lot of shit
and poor advice to start realising what the
right advice was, and to be honest, as you’re
the only person who can get yourself out of
such a predicament in the end, it’s really hard
when you’re placing trust in people and you’re
essentially putting your life in their hands.
Also a lot of people I saw didn’t seem to really
care. A lot of physios and hand experts that
I met weren’t actually interested in looking
at what I do, which was frustrating as a lot of
my issues stemmed from technical drumming
problems. The reason I got these injuries was
amplified by not warming up, not warming
down, not having a good diet and not looking
after myself physically or mentally – there’s a
lot of factors that contributed to things, but
the main problem was I was drumming like a
thug! I played with no technique, not thinking
mindfully about how to actually drum – just
doing shows, playing fast and hitting the
drums too hard with loads of aggression. It’s
not a surprise that I got severe injuries in both
of my thumbs.”
What effect did having such
an enforced break have on
you mentally?
“It’s changed my life for the better now, but
I think I was completely lost for a long time.
It took me ages to get my hands better and
I honestly think that’s because of the way I
was thinking. I couldn’t heal properly as my
mind was in such a bad place. I’ve basically
not looked after myself for such a long time,
and after a while it has consequences. When
you’re constantly stressed out, it’s going
to have an impact on your drumming. The
most frustrating thing was that I wasn’t
putting any value on actually drumming as
a professional player, and I started to really
regret not enjoying the playing part of what
18/03/2014 10:58

about changing my whole life and perspective
on what I do. It’s enabled me to want to
drum again!”
Did you get any help from
organisations such as the
British association for
Performing arts medicine and
Help Musicians UK?
“Help Musicians UK has been incredible for the
last few years. They enabled me to move back
to London and be around friends, as well as
supporting me when I was living in isolation
outside of London while trying to write an
album. Without their support I wouldn’t have
got this far. With my friends and my family,
there have been so many people who have
helped that I couldn’t fit them into a paragraph!
Matthew Dewhirst at Help Musicians UK has
026-031 JD_rev4CK_NC_NR.indd 29
been a massive support, as have Deborah, Dan
and particularly Clare at BAPAM, who have
done so much for me, including listening to me
when I was in the absolute darkest of places,
and enabling me to have a breakthrough when
they hooked me up with their hand specialist.
The thing is, a lot of musicians and people
who work in the music industry have a lot of
issues, which kind of comes with the lifestyle,
and there’s no shame in getting help. I also got
help from a place called Lifeline in East London,
who deal with addictions, and thanks to them
I’ve stopped smoking and drinking. If you have
mental or physical health problems, financial
problems or addictions, being able to get help
from organisations such as BAPAM and Help
Musicians UK is invaluable, because without
their help, I certainly wouldn’t be where I am
today – it’s that simple!”
jungle drummer
With you now coming back
into live playing, have your
injuries made you re-assess
your approach to drumming?
“Definitely! The biggest development that
I’ve had over the last few years is that I met
a woman called Michelle Pernetta, who runs
Fierce Grace Yoga (www.fiercegrace.com) –
four yoga studios around London. She’s done
yoga for 25 years and is also a martial artist
and massage therapist. She heard about some
of the things that have happened to me and
I’ve had a couple of one-to-one sessions with
her where she’s helping me to rehabilitate.
She’s helping me to completely change my
life. In terms of drumming, doing hot yoga has
helped me in the space of a month go from
playing daily for thirty minutes to three hours
pain-free. I honestly can’t thank or recommend
gearbox
Drums: Sonor SQ2 series
Cymbals: Murat Diril
Electronics: 2 Box
Heads: Evans
Cases: Protection Racket
Sticks: Vater
Clothing: Junglist Movement by Aerosol.
co.uk
April 2014 DRUMMER 29
18/03/2014 10:59
 INTERVIEW

30 DRUMMER April 2014

026-031 JD_rev4CK_NC_NR.indd 30 18/03/2014 10:59

 jungle drummer

Michelle enough, as when you get older and
you’re doing physical things you need to put
work in on your body to enable you to do
things to a high level, and having better fitness
and stretching really helps. On the technical
side of things, Martin Ranscombe has been a
massive help. I recommend any drummer that
has any hand problem or physical problems
– even set-up problems – goes to him to
get some advice, as he’s basically looked at
how I was drumming before and taken me
back to basics, even showing me how to sit
comfortably at the kit. If I’m honest, at first it
seemed so alien to me as I went from sitting
low and hunched over the kit to high and
spread out, but now that’s really starting to pay
off. Martin also looked at my hand technique
and helped me with that, but also I’ve started
using Triplet Drum Gloves, which when you've
got an injury can keep your hands really open
and protected while still having control. What
I’ve found is that when I’ve played using the
gloves then taken them off, my fingers are
really relaxed, which is a much better way of
drumming. The other thing I’ve done when
it comes to playing is to get some bike wrap
“My life before
was all about
drumming, but i
never valued it, and
it took all of this
to make me really
appreciate it”
and tape it around the butt of the sticks,
which widens the gap in your hand meaning
I’m not having to grip as hard and a lot of
the vibration of the stick is absorbed and not
coming through my hands. Drum’n’bass played
at 184 beats per minute equates to over 11,000
strokes per hour, and to be back to playing
at the stage I am now has taken months of
changing my technique. Now I’m able to play
faster, my technique’s better, my mindset is
better and my body is stronger, and that’s after
going through months of re-evaluation.”
What’s next for The Jungle
Drummer?
“I’m currently being filmed for a documentary
about jungle drumming, which is also looking
at the recovery process from my injuries, and
I’m also launching some new products on
my new website – www.thejungledrummer.
com – including loop CDs and The Jungle
Drummer Method for Drummers, which looks
at different styles of breakbeats at tempos from
70 to 170BPM. I’m also back working on my
album, which is really exciting, and I’m doing
an album with a well-known bass player, which
is coming out at the end of this year. I’m really
excited as well as I’ve just started endorsing
Murat Diril cymbals and Evans Heads, which is
a massive honour, and I’m going to be doing
some stuff with them, including playing at the
Thump festival at the Pizza Express Soho on 28
March, which will be the first live show I’ve done
in a long time. It’s great to be involved with
both companies, as I feel both offer incredible
products. I’m also involved in a groundbreaking
new live show with DJ Blazin’, and we’re doing
something that’s never been done before, so it’s
going to be a productive year!”

The following organisations were vital in helping Jungle
Drummer get back to performing and loving the drums again.
At Drummer, we’re well aware of a large number of drummers
who credit BAPAM and HFM for getting them through difficult
times in their life, so we wanted to let you know exactly what
they do and how you can help them continue to provide these
vital services for musicians.
The British Association for
Performing Arts Medicine (BAPAM)
to specialist practitioners or appropriate care at their local NHS
when necessary.
Through its education and training programme, BAPAM
raises awareness and understanding of performer health issues
and healthy performance practice throughout the UK. Its
bespoke seminars and workshops are available to performers,
teachers and students in performing arts employment and
education settings.
Find out more by calling 020 7404 8444 or visiting www.
bapam.org.uk

Performing arts professionals HELP MUSICIANS UK

work in a competitive, highly
skilled and often poorly paid
industry. Behind the scenes,
the physical and psychological
pressures can be immense,
and many people experience
health problems or injuries
affecting their ability to work. Access to expert health advice
and support can be crucial for long-term wellbeing throughout
such a demanding career.
Healthcare charity BAPAM supports individual performers
and provides broader education and training. Performers
can attend free, confidential health assessments at BAPAM’s
central London clinic, with practitioners from a range of
backgrounds – including general practice, rheumatology,
surgery, physiotherapy, psychology and vocal health. BAPAM
can also arrange free assessments with specialist GPs at various
locations around the UK.
The services offered focus on the unique challenges faced
throughout a career in the performing arts, including during
education and training. Practitioners provide detailed information
about a performer’s condition, with advice on how they can
manage their health and performance practice, referring them
Help Musicians UK is the leading UK charity for professional
musicians of all genres, from those just starting out through to
those looking at retirement. Formerly the Musicians Benevolent
Fund, it helps at times of crisis, but also at times of opportunity,
giving musicians the extra support they need at a crucial stage
that could make or break their career.
It helps promising young artists to improve their skills and
get started in the profession. It helps existing professional
musicians who hit a crisis in their lives, such as accident or
illness. It also helps musicians in retirement and those needing
special assistance as they grow older. Find out more at www.
helpmusicians.org.uk.
Help Musicians UK relies heavily on donations to support its
work. Whether you volunteer, fundraise, make a donation, set up
a regular gift or leave a legacy, every penny goes towards helping
musicians across the country. Visit www.helpmusicians.org.uk/
donate to make a difference today.

April 2014 DRUMMER 31

026-031 JD_rev4CK_NC_NR.indd 31 18/03/2014 10:59

 INTERVIEW

J
ohn DeChristopher, probably best known
in the drum industry as the Boston-
based head of artist relations for Zildjian
cymbals, joined Zildjian in 1989, having
previously worked for Simmons and Drum
Workshop. Throughout his time with Zildjian,
he worked alongside some of the world’s
greatest drummers, such as Elvin Jones, Tony
Williams, Steve Gadd, Peter Erskine, Vinnie
Colaiuta, Steve Smith, Ringo Starr and Charlie

Taking
Watts. He was directly involved in product
development, including Zildjian’s signature
stick line, A Custom cymbals, Hybrid cymbals
and the K Constantinople range. In 2013, John
announced his retirement from Zildjian, but his
presence is still felt in the drum world as he still
regularly attends drum and music events and
has begun an occasional but entertaining blog.
When Drummer spoke to John, we started with
how his move to Zildjian came about. Having
been initially approached and interviewed by
Zildjian’s then marketing man Colin Schofield,
John was recalled for a second interview with
the legendary Armand Zildjian…
“If you met Armand once, you got a good
sense of what he was like – a wonderful and
charismatic man. At the time I was working
for DW and, initially, I wasn’t sure that I wanted
to leave them, but by the time of the interview
with Armand, I really wanted the job. Armand
made me feel comfortable immediately –
talking about drummers, telling stories and
asking me if I knew Peter Erskine, Vinnie
Colaiuta, Steve Gadd, Steve Smith and a whole
bunch of mutual friends of ours. I think that

Care Of
Business Ex-Zildjian head of
artist relations John
DeChristopher looks back
over his 25-year tenure
with the cymbal company,
picking out his career
highlights, and revealing
plans for the future
Words: Brent Keefe

32 DRUMMER April 2014

032-035 De Christopher_Rev4CK_NC_NR.indd 32 18/03/2014 10:56


“if you met armand Zildjian once, you
got a good sense of what he was like – a
wonderful and charismatic man.”
once he realised that I already knew a lot of
these guys, he felt more comfortable in terms
of bringing me into the company. One of the
funny parts of that interview with Armand was
that Craigie Zildjian, who later became my boss
and now runs Zildjian, was in charge of human
resources and so she was looking at
my résumé and asking me questions about
why I had moved around so much from
Simmons to DW and moving to LA and then
back to Boston. I explained that my son was
born in Los Angeles in 1987 and we wanted
him to grow up on the east coast, where
his family is. Craigie continued with more
questions and finally Armand said: ‘Craigie, for
crying out loud! I like this guy. Just hire him
and give him whatever he wants.’ I was sitting
there in the room just trying to keep a straight
face. It was a great moment and a day or two
later, I got a call telling me that I was in and
that was the beginning of a great relationship
with Armand.”
032-035 De Christopher_Rev4CK_NC_NR.indd 33
John DeChristopher
Career highlights
When asked what the highlights of his 24-year
tenure with Zildjian were, John didn’t have to
think too hard before responding. “We did five
Steve Gadd ‘Mission From Gadd’ tours in the US
and Europe and I consider those as some of the
highlights. Anything that I ever did with Steve
was not only professionally fulfilling, but it was
a lot of fun because of the relationship that
we have, but I felt like those events broke new
ground because they weren’t just drum clinics
– we had a self-contained tour bus, meet-and-
greet events, press interviews, we even did live
web chats. We maximised the promotional value
of having Steve Gadd on tour and our objective
was to make each event the ultimate experience
for drum shop owners and the thousands of
Steve Gadd fans.
“Speaking of Steve, in 2003 we did a tribute
to Steve: The Zildjian Drummers Achievement
Awards. I produced the show and we had
performances by James Taylor and Paul Simon
April 2014 DRUMMER 33
18/03/2014 10:56
 INTERVIEW
and the house band included Vinnie Colaiuta
and Rick Marotta and James Taylor’s rhythm
section. It was an amazing event, but the only
nail-biting moment on that one was due to the
fact that Vinnie was working with Sting and
was flying in from somewhere in Europe on
the day of the event. Just in case Vinnie’s flight
was delayed or cancelled, I had a great local
Boston drummer called Dave DiCenso standing
by. Dave had learned all of the music, though
he hadn’t rehearsed with the band, but he was
there in case we needed him, and I know he
could’ve done it, but Vinnie showed up almost
exactly when we intended to start the rehearsal
and we started the show on time. Vinnie came
straight to the venue and said to me, ‘Did you
set these drums up?’ and I said, ‘Yes.’ He said,
‘They’re really close’ and I was thinking, ‘This is a
good sign!’
There were a lot of great moments backstage
with Steve and Rick Marotta, who are old
friends, and it was fun to be around that,
hearing all of the old stories. It was an incredible
34 DRUMMER April 2014
032-035 De Christopher_Rev4CK_NC_NR.indd 34
show and producing it was the most difficult
and challenging thing I’ve ever done, but also
what I’m most proud of. Hudson Music recorded
it, and my friends Rob Wallis and Paul Siegel
were an integral part of helping produce the
show. In 2008 I produced the ZDAA tribute to
Ginger Baker in London. Jack Bruce performed,
along with Simon Phillips, Steve White, Keith
Carlock, Gary Husband, Tony Allen, Tony Levin,
Ray Russell and the late, great Jon Lord. Bob
Henrit was there and Charlie Watts presented
the award to Ginger.
“Another highlight was Zildjian’s ‘Artist
Sessions’ annual gatherings in London, LA and
New York. I wanted to create a relaxed, intimate
atmosphere for artists to check out new
products and feel part of the ‘Zildjian Family’.
They’ve become a huge success and have been
expanded to other markets.”
Significant Finds
John signed many endorsees to Zildjian and,
when asked to select a few he was most
proud of, he responded as follows: “Keith
Carlock comes to mind. I’m very proud of our
relationship. He was playing with Wayne Krantz,
and Zach Danziger suggested I check him out. I
went to see him at Berklee Performance Center
– it was probably 1997 – I’d never seen anyone
play like that and even today no one plays like
Keith. I didn’t even need to think about it after
I’d seen him play. I was completely floored.
“Carter Beauford sent me a demo tape
of The Dave Matthews Band in 1993 and I
remember thinking, ‘Even if this band doesn’t
go anywhere, this drummer is definitely going
to do something!’ That’s when an artist relations
person earns their stripes. It’s easy to know
who to sign when a band is selling millions of
records, but when you sign someone at the
very early stages of their career and watch
them blossom, it’s very satisfying. Tommy
Igoe was the first artist that I signed in the
summer of 1989. I went to see him with The
New York Voices and he proceeded to blow
me away. We talked afterwards and he made a
reference to his dad, saying, ‘My dad has been
with you guys for a long time and he knows
Armand and Lennie’. So I said, ‘Wait a minute.
Is your dad Sonny Igoe?’ and he said, ‘Well,
yeah.’ So I said, ‘Well why didn’t you tell me
that?’ and he replied, ‘I didn’t want to call up
and say I’m Sonny Igoe’s kid. I wanted you to
hear me play and base your decision on that.’
I respected that very much and, if you know
Tommy, that’s the kind of person he is. Other
artists I signed included Mike Mangini in 1989,
18/03/2014 10:56

“i do miss working with artists, but i
reached the point where i felt i could
no longer do my best work.”
Brian Blade, Al Foster, Will Kennedy, Questlove,
Russ Miller, Marco Minnemann, Sheila E., John
Blackwell, Thomas Pridgen, Antonio Sanchez,
Joe Porcaro, Jason Bittner and dozens of others,
and I’m especially proud of signing Ringo to
Zildjian Drumsticks. I‘m deeply proud of the
relationships I initiated and developed with
Charlie Watts, Ringo Starr, Mitch Mitchell, Hal
Blaine, Max Weinberg and Levon Helm, none of
whom had any sort of relationship with Zildjian
prior to me working there.”
Letting Go
In addition to signing endorsees, John had
to also let some go and dealt with some who
decided to leave of their own accord, as he
explains: “In most cases artists left of their
own accord if they weren’t happy. Some of
them had, over time, hinted or enquired about
coming back, but Zildjian has a policy that if
you leave you can’t come back. There were a
couple of times that we bent that rule, such
as with Elvin Jones, who helped us with the K
Constantinople range, but it was always with
Armand’s blessing. Of course, it was hard to
see artists like Vinnie, Dave Weckl and Neal
Peart go… Vinnie especially, because we were,
and remain, such good friends. He had his
reasons for wanting to make a change, and I
certainly respected that. Knowing how private
a person Vinnie is, I won’t comment further,
other than saying it was all very amicable and
we appreciated his many years with Zildjian.
Armand told me a long time ago not to take it
032-035 De Christopher_Rev4CK_NC_NR.indd 35
personally if someone leaves and though it’s
hard, I eventually learned not to.”
When asked about the most difficult problems
he encountered in artist relations, John cited
a shrinking music industry as the cause of
several problems.
“The problems that I had, and that people
that continue to do the job have, all relate to
the fact that the music industry has shrunk
and as a result, artist relations has changed.
It’s increasingly harder for drummers to
make a living and, consequently, to some
degree they have become more reliant on
their drum, cymbal and other endorsement
companies. Working backwards from that, some
of the challenges were managing people’s
expectations. Some artists would say, ‘Can you
put me out on a clinic tour?’ but if the timing
wasn’t right for Zildjian to do a clinic tour with
that artist, perhaps because they may have
done one the year before or we may have
already made plans for the current year with
another artist, then there was disappointment.
Also, when you look at the recording scene in
Los Angeles, it used to be thriving enough to
keep 10 guys working all day long; you had
Vinnie working every day, JR Robinson, Rick
Marotta, Jim Keltner, Jeff Porcaro when he was
alive – all of those guys were working all the
time and now there’s not enough for one guy to
be working all the time. And sessions don’t pay
what they used to. Those factors have led to it
being more difficult for drummers and, it was
hard for me because I always advocated for the
John DeChristopher
artists, but there was only so much that I could
do. So much of it stems from the state of the
record industry and record companies’ general
lack of interest in artist development.”
Keeping His Hand In
John clearly still loves music and the world of
drums, so is there some possibility that he may
re-enter the percussion world in some capacity?
“That question has been coming up a lot
lately. When I left Zildjian, I never said that I
would never do this again, so that may be an
answer right there. I would say that right now
it’s 50-50. I do miss working with artists, but I
reached the point where I felt I could no longer
do my best work. It was very difficult, both
emotionally and professionally, but I know
it was the right thing to do. But if the right
situation presented itself and was something
that‘s interesting and fun and gave me the
flexibility that I absolutely need, then I would
consider it. I’ve had a few job offers and have
been doing some consulting to keep my toe in
the water, but I’m not ready to jump back in full
time. My wife grew up in the drum business and
is supportive of whatever I want to do. It’s been
great, however, to have a break from it.”
Since retiring, John has also started a very
enjoyable online blog. His Zildjian colleague,
Lennie DiMuzio authored a great book, Tales
From The Cymbal Bag. So has John had any
thoughts about writing a book?
“I’ve thought about it and many people have
suggested it. In fact, I had lunch with Lennie
last week and we jokingly said that we should
collaborate on Lennie’s second book and he said
I should write my own. I know writing a book
would be a lot of work because I would want it
to be interesting as well as entertaining. I’d have
to really sink my teeth into it, but I am thinking
about it.”
www.johndechristopher.wordpress.com
April 2014 DRUMMER 35
18/03/2014 10:56
 DRUMMER MAGAZINE PRIORITY RENEWAL FORM

SUBSCRIBE
TODAY AND GET A FREE GIFT
WHICH PACKAGE WOULD YOU LIKE? 126
(OFFICE USE ONLY)

Please start my NEW Subscription to Drummer Magazine from issue:

Please renew my EXISTING Subscription to Drummer Magazine

SUBSCRIPTION RATES
Please TICK the appropriate box below

SAVE OVER 43%

UK: £40.25 Europe: £51 Rest of World: £71

YOUR DETAILS
Please complete in BLOCK CAPITALS. All information is private and will never be disclosed.

Mr/Mrs/Miss Forename
Surname
Address

County Postcode
Daytime Phone Mobile
Email Year of Birth

PAYMENT OPTIONS
1 DIRECT DEBIT - Get 13 issues, Annual DD £40.25

LTD

Direct Debit Instruction to your Bank or Building Society to pay by Direct Debit
Service user Number 2 5 4 3 8 9 ref. No. (For official use only)

Please fill in the form and send to: Blaze Publishing Ltd, Lawrence House, Morrell St, Leamington Spa, Warks. CV32 5SZ

Name and full postal address of your Bank or Building Society

To the manager (Bank Name)

Address

Postcode
Account holder(s) name(s)
Branch sort code

Bank/Building Society account No.

INSTrucTIoNS To your BANk or BuIlDINg SocIeTy. Please pay Blaze Publishing ltd Direct Debits from the
account detailed on this instruction, subject to safeguards assured by the Direct Debit guarantee. I understand
that the instruction may remain with Blaze Publishing ltd and if so, details will be passed electronically to my
Bank or Building Society.

Signature Date
Banks and Building Societies may not accept Direct Debit instructions for some types of account.

CHEQUE/CREDIT CARD
2 I enclose my cheque for the above amount made payable to Blaze Publishing Ltd

3 Please charge my Visa Mastercard Maestro Delta with the above amount
(Please no Amex)

Card number Security code START DATE EXPIRY DATE

| | | | | | | | | | | | | | | | | | | | | | |

SIGNED TODAYS DATE

RETURN TO: BLAZE PUBLISHING LTD Lawrence House, Morrell Street, Leamington Spa, Warwickshire, CV32 5SZ

036-037 Subs Page_Rev1.indd 36 05/03/2014 15:46

 SUBSCRIBE TODAY
+ SAVE OVER 46%
+ GET FREE MOODY BLUE
TUNER FISH LUG LOCKS!
SUBSCRIPTION PACKAGE INCLUDES:
12 issues of Drummer magazine delivered direct to your door
8-pack Tuner Fish in limited edition “Moody Blue” RRP £8.99
Tuner Fish Lug Locks are specifically
designed to follow the circular contours
of drum hoops. The tail of the fish rests
RIBE to
SUBSC agazine firmly against the hoop, locking the
er M
Drumm nd we’ll tension rod while the star-shaped cavity
today a ur FREE
ou yo allows the bolts to be locked in any
send y ight away
gift str
a tuning position. They are available in a
VE
you SA wide range of colours, including clear
– PLUS %* 3
OVER 4 and sparkle finishes.

This limited edition ‘Moody Blue’ colour

is exclusive to Drummer Magazine.

For further info visit

www.tunerfishluglocks.com

NOW AS A DIGITAL MAGAZINE TOO!

ORDER ONLINE AT WWW.DRUMMERMAGAZINE.CO.UK
OR CALL OUR SUBSCRIPTION TEAM ON 01926 339808
*Offer open to UK subscribers to print version only and while stocks last. Savings based on comparison against
cover price (inc p&p) and gift RRP

036-037 Subs Page_Rev1.indd 37 05/03/2014 15:46

 INTERVIEW

STICKING
THE SKUNK
TO
Mark Richardson is back behind the
kit with Skunk Anansie and discovering
that age is no barrier to speed or the
learning process Words: andy Hughes images: antonia Chick

m
ark richardson has presided over the engine room of three
major Uk rock bands – Little angels, Feeder and Skunk anansie.
Following the latter’s reformation in 2009, mark has played on
two albums and a live acoustic release… so what’s the secret to his success?
Surely, it can’t be jazz drumming lessons…
First, we go back to the very start of mark’s career as a player: “To go right
back to the beginning, my grandmother bought me a tin drum when I was
three years old. It was a sign of things to come because I beat the living
daylights out of it! I wore through that pretty quickly and was promoted
to pots and pans and empty margarine pots, then when I was about six
my dad got me a kit. I used to go round to my best friend’s house and play
his Ludwig junior kit, and his dad decided to sell it and buy him an adult
kit. I was really upset. Turns out my dad bought the junior kit and I got it
for Christmas. So I did the usual thing and played along to albums in my
bedroom for the next 16 years.
“I was in loads of bands at school, but the first signed band I was in was
Little angels – they were from Scarborough where I was from. I joined them
because mike Lee had left them to join the Cult when matt Sorum left to
join Guns N’ roses. That was the proper start of my career as a drummer.”

coLLEcTiVE crEaTiViTY
Now happily ensconced in the re-invigorated Skunk anansie family, mark
explains the difference in the creative process between Skunk and his
previous band Feeder. “When we write, we all get together in a room and
work together, which is pretty much the opposite of what Feeder used
to do. Grant [Nicholas, Feeder’s guitarist and singer] would arrive at the
rehearsal studios with a virtually complete demo for a song, and we would
work on that. a lot of what he had done on the guitar tracks would be what
finished up on the album. With Skunk we battle through the writing process
together. anyone can bring a set of chords or some words to the table. I
can suggest to ace that he plays a hook line slightly differently – it’s open
for anyone and everyone to chip in with thoughts and ideas. Everyone has
a say in everyone’s input, there is no room for any egos. It’s a great way to
work – four heads are better than one. You need to have people to support
you, even if that includes someone saying they don’t agree with something.”

a diFFErEnT aPProach
It may come as something of a shock to fans of mark’s ferocious beat
patterns that he has returned to teacher mike Dolbear to take some – brace
yourselves – jazz drumming lessons. “I have had some lessons with mike,”
mark confirms. “It is about broadening my technique and giving me more
depth and range. I don’t think there is ever going to be a time when I start
playing jazz gigs, but it is proving helpful.
“When we were recording Black Traffic, our last studio album, the ideas
that were coming to me made me play in a different way. I still played with
the same intensity and velocity that I have always had, but the ideas about

38 DRUMMER April 2014

038-041 Richardson_Rev4CK_NC_NR.indd 38 12/03/2014 11:22

 mark richardson

April 2014 DRUMMER 39

038-041 Richardson_Rev4CK_NC_NR.indd 39 12/03/2014 11:23

 INTERVIEW
playing were different. mike is always a believer
that other styles will influence a drummer’s own
style – it helps to make you a whole musician
– and now that I have had these jazz lessons, I
begin to understand what he means, and how
that works.”
Influences are a vital part of any drummer’s
style, and mark is keen to reference the great
Brian Downey from Thin Lizzy. “Yes, I have
always loved his playing,” says mark, nodding in
agreement. “When I listened to Thin Lizzy when
I was at school, I was never bothered about
the guitars, or Phil Lynott’s lyrics. I just used to
hum the melody and listen to the drums. Brian
Downey was never a player to smash around
his kit. He always played for the songs, and his
playing was just sublime. He had a jazz-tinged
style that made things flow beautifully, creating
a silky smooth sound. He is one of the great,
underrated British drummers.”
PhYsicaL PrEParaTion
Watchers of Skunk anansie on stage or listeners
to their recorded output will know that mark
richardson does not hold back. His style could
certainly be accurately described as ‘physical’, but
mark is better able to keep up with the onstage
and recording pace of playing now than in his
earlier days. “It’s easier now I have to say. When
I was in my mid 20s, I was partying far too hard
and then doing the gigs in the evening – this
was when I was with Skunk anansie the first time
40 DRUMMER April 2014
038-041 Richardson_Rev4CK_NC_NR.indd 40
round – and I was pretty shot physically. When
we got back together, I had been sober for about
four years and my love of partying was long
gone. I was far more interested in keeping fit.
“I do prepare for a tour. I get a decent level
of fitness established in advance. I have to
remember that I am in my 40s now. I can’t go out
and play every night like I did when I was in my
20s. I’m not immune from the standard aches
and pains that drummers have; I have lower back
pain, and some issues with joints, but I am just
going to carry on for as long as I am able and
then I’ll do something else. I can at least make
sure that I don’t damage myself any further, even
if there’s not much I can do about what is already
there. Probably the biggest damage is to my
ears. I use in-ear monitors now, but I didn’t for
many years. You have to be so careful with your
ears. It takes a split second to get permanent
hearing damage.”
Skunk anansie’s brand of hard-hitting rock riffs
and sensitive relationship analysis has gained the
band a wide audience, from die-hard rock and
metallers to listeners who like a kick in their pop
charts. mark believes that the band’s approach
to writing and recording ensures that they retain
freshness, in studio and stage settings. “We don’t
like to over-play songs before we record them,
so we tend to go into the studio with skeleton
formats for songs, and then work them out as
we go. That means that by the time we come to
rehearse for a tour, the songs may have changed
into something else. We like to rehearse enough
to get to the level that we reached in the studio,
and then when we get a few gigs under our
belts, we start to surpass that. as musicians, we
get better every record, in terms of our technical
ability, and we get more comfortable playing the
more difficult material live on stage.”
sEnsiTiVE sKUnK
as well as their full-on, heads-down-see-you-at-
the-end incendiary rock shows, Skunk anansie
like to show their sensitive side, which they do
with occasional acoustic gigs, and that means
dialling down the beats for mark. “I take out a
smaller kit, with thinner cymbals, and use more
brushes and mallets to give a more intimate
sound because everything is much softer. It is
more about percussion playing than providing
heavy beats like I do on the full electric band
shows. I do enjoy them a lot because they are
completely different. With Skunk anansie gigs,
it’s just a couple of ballads here and there, and
the rest is really full on hardcore playing, so the
acoustic shows are a nice chance to play more
varied percussion, and it’s great to have a change
and use some different skills.”
So that takes care of the band’s other side – but
is mark a keen exponent of new techniques and
styles? “No, not at all, I am very lazy as a musician.”
mark responds honestly with a disarming smile.
“It’s the same as going to the gym. If I go, I need
an appointment with a personal trainer, otherwise
I will go to the gym, but I won’t push myself
as much as I need to, and as much as a trainer
will push me. That’s why I really enjoyed the
jazz lessons I had so much. I had to get into the
practice room and actually work on things that I
had absolutely no idea of. my dad played in jazz
bands, but that was as far as my link to jazz went;
I had no technical knowledge of jazz drumming. I
have really enjoyed it, and I am looking forward to
doing some more.
12/03/2014 11:23
 mark richardson

separately – we were conscious of not having any

rules about anything we did. We co-produced
with Chris Sheldon who has worked with the
Foo Fighters and Biffy Clyro, and it worked out
very well. I know enough to put down demos at
home, but when it comes to making an album
that is going to be out there forever, I believe in
leaving that to the professionals. I know when
something sounds right, but not always the ways
and means to get there, although I do have more
of an idea now than when I first started recording
in a studio years ago. When it’s gone down the
wire, that’s it, it’s out of my jurisdiction then; you
learn to trust the technical guys to do what they
do best.
“When you put drums in a band situation,
it is an ego-free instrument, and you need to
understand that, and remember it. People think
it’s last on the list, but in fact, it is first on the list.
If you are building a house, you start with good
solid foundations, otherwise it will fall down
when you get going, and the same applies to
a song. If you have a great song, with dodgy
drums, nothing in the world will prevent it
sounding weak and weird. You have to ground
the band’s sound firmly and securely all the time.
If I had put a complex bossa nova beat that I
couldn’t play very well underneath a track like
‘Hedonism’, it would not have been a hit. I am
not saying that the drums are the reason why a
song is successful, it is all about the end result,
and as the drummer, you have to take your own
ego out of that.”

“my job as the drummer in Skunk anansie is to

provide an interesting but fundamental backbeat
for the songs. It can get more complicated on Drums: Sakae Various mallets and brushes.
some of the heavier stuff, which can get more
Celestial (standard gigs)
14"x8" and 13"x7" snares Percussion: LP
interesting and more technical. But as a rule, if
24"x16" kick 191 Cyclops hi-hat tambourine
I do play anything more complex, the request 13"x9" rack tom
is to simplify it back down again. The vocal and 16"x14" and 18"x15" floor toms Hardware:
the melody are the most important things with Trilogy (acoustic gigs) Sakae hardware
Skunk, getting the words across.” 14"x6.5" snare Porter & Davies BC2 throne
24"x14" kick malleus kick pedal
soLid FoUndaTions 13"x9" rack tom Cases:
So what about the age-old problem, capturing 16"x16" floor tom Protection racket aaa (touring)
that ‘lightning in a bottle’ that is the excitement of
Proline (storage)
Cymbals: Zildjian
a live show, in a sterile studio environment? Given
20" a thin crash Microphones: Shure
that mark plays with such a full-on, forceful style, 20" a medium crash Beta 98 on toms (top and bottom)
that may be more difficult for him than most – or 24" a ride Beta 52a & Beta 91 in the kick
not. “It is tricky, and I learned fairly quickly that EFX crash Sm57 on snare (top and bottom)
the more I tried to find that elusive atmosphere, 16" k Light hats (discontinued) Sm81s overhead, hi-hat and ride
the further away it went. I found that if I played
harder, looking for that excitement, the sound was Heads: Remo In-Ear Monitors:
worse, and if I relaxed and took it a more even, Celestial: UE18 Pro
sustained pace, it worked far better. If you take the
Toms: Emperor Satin & Clear Diplomats
kick: P4 Batter & Front Electronics:
frantic pace off, you can be more accurate, and
Snare: Emperor X & Clear ambassadors. roland SPD-XS
more dynamic, and that is important – dynamics Trilogy: SD mac running Logic for some sequences.
are everything. We are past the stage as a band of all Emperor Vintage & Clear Diplomats,
trying to sound live in the studio. except... Other:
“When we did Black Traffic, as I said, we kick: P3 Batter with P4 Front. Tunerfish lug locks
took skeleton formats of songs in, and just moongel damper pads
experimented until we got the sounds we Sticks: Vic Firth Protection racket drum mufflers
wanted. For some tracks, we programmed things Classic rock with grip tape kelly Shu bass drum mic mounts
quite heavily, and for others we programmed
3a, 5B, rute 606 Stageworks Gear stick holders
the kick drum one way, and the snare and toms

April 2014 DRUMMER 41

038-041 Richardson_Rev4CK_NC_NR.indd 41 12/03/2014 11:24

THE RISER
ROB JONES:
65DAYSOFSTATIC
S
heffield-based instrumental rock band
65daysofstatic were formed in 2001, with
drummer Rob Jones joining the ranks in
2003. With a host of albums and high-profile
shows under their belt, we thought it was time
we caught up with drummer Rob to get the
lowdown on the successful quartet…
WHAT DO YOU SOUND LIKE?
Noisy. Possibly even very noisy. It’s quite
strange dance music that utilises guitars,
drums and synths. It’s all instrumental. Like
Chopin said: ‘The music is the voice’.
HAVE YOU GOT AN ALBUM OUT?
Album number six, Wild Light, was released in
September 2013 – available on all good proxy
torrent sites. We’re also celebrating the 10-
year anniversary of our debut record The Fall
of Math with a vinyl reissue and playing it in its
entirety in London, Paris, Berlin and Utrecht.
WHO OR WHAT INSPIRED YOU TO TAKE UP
DRUMMING?
Teenage restlessness and wanting to be
louder than my friends who all had guitars. I
certainly subscribe to the idea that inspiration
exists, but it has to find you working first.
WHAT HAVE BEEN YOUR DRUMMING
HIGHLIGHTS SO FAR?
Being fortunate to have played one of the final
42 DRUMMER April 2014
Peel sessions. Supporting The Cure in venues
like Madison Square Garden, and playing in
Japan and Russia.
WHAT’S YOUR CURRENT SETUP?
I have a five-piece bespoke drum kit made
by FVF Custom Drums. This is supplemented
by Aquarian heads, Big Dog Drum Hardware,
Roland V-Drums and Sabian cymbals. I get
sounds from them using Shaw sticks.
FAVOURITE VENUE YOU’VE PLAYED AT?
Red Rocks, Colorado (you’re playing in a
100-million-year-old, geologically unique,
natural amphitheatre), AB Domino in Brussels
as it sets an example to all other venues on
how to be better, or Glasgow Arches because
drums sound great in railway tunnels.
WHAT’S YOUR FAVOURITE ALBUM OF ALL
TIME?
Tom Waits – Rain Dogs.
WHAT’S THE BEST GIG YOU’VE EVER SEEN?
Nine Inch Nails. One of their ‘final’ shows as
part of the Wave Goodbye tour, outdoors
in Osaka just as the sun was going down.
Trent Reznor is an extremely talented man
and the line-up, at that time, was made up of
superb musicians.
WHICH DRUMMERS, PAST OR PRESENT
INSPIRE YOU THE MOST?
Ben Koller from Converge for being
completely effortless in his brilliance.
Bryan Devendorf from The National who
manages to be melodic and inventive
while still being generous with space and
supportive rhythmically. Brian Chase from the
Yeah Yeah Yeahs just for his solo record Drums
& Drones.
RINGO STARR, CHARLIE WATTS OR KEITH
MOON?
It’s a bit stuffy in here isn’t it? How about a
great female drummer from the UK instead?
Fay Milton from the band Savages.
65DAYSOFSTATIC ARE...
Rob Jones
Joe Shrewsbury
Paul Wolinski
Simon Wright
65daysofstatic on the Tube...
http://bit.ly/NTrHsm
043.indd 43 11/03/2014 16:37
TECH DIARY
Drum Tech Diaries
Opportunity knocks…
Part 24 – Tinie Tempah: Time Off
I
n March 2012, I was fortunate enough to go
to Australia for the Future Music Festival with
Friendly Fires. I wrote an entry later that year
about my experiences with the band during the
festival. Now I find myself here again, doing the
same festival, in the same locations, bizarrely
enough in the same slot in the bill albeit with a
different artist – Tinie Tempah.
The festival consists of six shows over the space
of three weeks. This allows artists to do promo
work or side shows while in Australia. As with
Friendly Fires before, I found myself with five days
off in Sydney after completing the Brisbane and
Perth shows, and wanted to make the most of the
opportunity. I had previously done most of the
‘touristy’ stuff, including the bridge walk, so was
looking for something different. Kentville Drums
was the answer.
The reason for my visit to Kentville Drums was
its unique product. After reaching out to owner
Steele Turkington through a friend of mine via
Facebook, I had arranged a meeting to talk to
him about all things drums and in particular
his kangaroo drumskins or ‘roo’ heads. I have
been tracking the progress of this product for
some time via social media and thought that I’d
44 DRUMMER April 2014
© Tina K
investigate more. Walking into Steele’s Kentville
Drums workshop, I instantly find myself smiling
at the view in front of me. A large double-
garage- sized workshop filled with tables, tools,
drums and mid-completed projects. Things
hang from the ceiling, heads are stacked on
shelves, and sand paper and measuring tools
are rife in this idyllic setting of Dural, on the
outskirts of Sydney. While the roo heads are
Kentville’s USP., Steele also restores snares
and full kits and has the facilities on hand
to complete full re-wraps if required by the
customer. Many of the clients’ newly finished
kits are fitted with a set of the roo heads. A
newly restored and re-wrapped Drouyn kit is
awaiting collection.
Steele explains to me how he sources the
hides from the local tannery and works them by
hand into drum skins. Through various processes,
including skiving, soaking and tucking, the
heads are carefully handcrafted to evoke the
sound of the vintage calfskin heads. Similar in
aesthetics and in touch, they can be crafted in
different weights for a variety of sonic options.
Steele also emphasises how climate and weather
affect the heads, both in drying time during the
manufacturing process, and when the skin is on
the drum, as it is a natural product.
After several hours of engaging discussion,
swapping stories and photos, talking about the
little-known Australian Drouyn drums, sadly, it
is time to leave. I come away with a 14” roo skin
(which was destined for Charlie Watts before I NEXT MONTH–
arrived), T-shirt and a head full of inspiration, TINIE TEMPAH
pleased to know that innovation is alive and
well in the industry, and that I have been
UK TOUR
www.drumtechsupport.com
fortunate enough, through circumstance, to
martin@drumtechsupport.com
meet the maker face to face.
Facebook.com/drumtechsupport
Whoever said that Facebook was just for
Twitter: @drumtechsupport
pictures of food and cats?!
045.indd 45 11/03/2014 09:02
Feature

Powered Performance
As more and more drummers use electronics as part of their regular setup, the Musicians’
Union looks at ways to keep your gear safe, legal and in proper working order

A
ll employers, self-employed and Dave Webster, MU national organiser – live the right electrical safety checks in place will
employees (duty holders) have legal performance, adds: “Keeping your gear in good help that. Unsafe electrical equipment could
obligations relating to the use and shape is just as important as playing the right invalidate your insurance policy, so take all
maintenance of electrical equipment under notes. Building confidence with engagers reasonable care to ensure your gear meets the
the Electricity at Work Regulations (EWR). could ensure you get asked back and having all statutory regulations.”
As musicians, we need to be aware of these
regulations, not just for our own health and
safety, but that of the audience as well. Basic
understanding and maintenance can also
protect you, should you need to make an
insurance claim.

Portable and fixed equipment

It is important to distinguish portable and fixed
equipment. It might sound simple, but electrical
connections to portable equipment are more
likely to be subject to wear and tear than those
that form part of any fixed installation. Be aware
of what your responsibility is so you don’t get
caught out.

Maintenance
Maintenance also matters to determine if
equipment is fully serviceable or any remedial
action is necessary. It can include visual
inspection, testing, repair and replacement.
There are no absolute rules regarding the
frequency of Portable Appliance Testing (PAT)
but regular testing – generally interpreted to
mean annually by a ‘competent person’ – is
recommended. You may need to do it more
often, depending on the nature of the working
environment and how much wear and tear the
equipment receives.

Remedial action
If there are any signs of damage or poor electrical
standards, the equipment should not be used
until it has been made safe – that could be a Are you an MU member? You can contact your
repair or replacement. regional office for individual, specialist advice on
all of the above, plus other questions you may
Keep a record have about your career as a musician.
You also need to prove you have complied
with the EWR. Keep full and accurate records
The Musicians’ Union has been protecting the rights and
of test results and equipment details, such as
interests of working musicians for over a hundred years, and
identification number, description, serial number
30,000 professional and student musicians currently benefit
and time between tests. And please don’t forget
from the MU’s comprehensive range of services. These include
that when you replace an item, those details
career and business advice, rights protection, free instrument
may be different, so you will need to note them
insurance, free contract and partnership advice, £10 million
down again.
public liability cover, legal advice and assistance plus access to
Proper understanding and maintenance are
a network of musicians of all ages across the UK. For anyone
simple, can keep you safe and save you money.
serious about being a working musician, whether in the live
For further guidance, as well as advice on
arena, in the recording world, as a teacher or writer/composer, the MU gives musicians a voice –
everything from risk assessments to protecting
individually and collectively – to help nurture and improve the industry and to ensure that every
their hearing, MU members can contact their
member has the support and protection they need.
Regional Office. See www.theMU.org for more
More info: www.theMU.org. Follow the MU on Twitter: @WeAreTheMU.
information or tweet us @WeAreTheMU.

46 DRUMMER April 2014

047.indd 47 11/03/2014 09:03
Feature
The Modern Way:
Recording for 2014
Getting the most from your kick drum
I
n this article, I will be looking at some of my
favourite recording techniques for kick drums,
including mic choices, EQ and compression
recommendations. As with snare drums, there
are different elements of the drum that produce
the sound of the kick, so I will be looking at mic
placements that will capture the overall sound as
well as focusing on shell, skin and beater attack.
Microphones
There are a lot of popular microphones for
recording kick drums, such as Electrovoice RE20,
Neumann U47 FET, Sennheiser’s MD421 and
even the Shure SM57. However, in this instance I
will be using an AKG D12, a very popular vintage
microphone, an AKG D112 – the updated version
of the D12 modified to better suit kick drums
and bass instruments – an Audio Technica 4033A
condenser and, finally, a subkick microphone.
Subkicks are specifically designed for
picking up low frequencies, particularly the
fundamental of the kick drum. Using this mic
can add the low-end thump we love from kick
48 DRUMMER April 2014
Words & Images: Stephen J. Good
drums. Yamaha manufactures its own subkick,
however, a lot of engineers will use homemade
versions that the subkick is originally based
on, often using NS10 speaker cones. Here, I
have used a 8” bass woofer, but any speaker
with a low-end frequency response will do the
trick – you simply need to wire it up to a ¼” jack
cable, plug it into a DI box and treat it like a
microphone. You might find you’ll need to use a
-6 to -12dB pad, depending on the ohm rating
of the speaker.
Placement
Inside the Shell
As I have mentioned in previous articles,
the most important thing is to get the drum
sounding as near to the final desired sound
as possible in whatever room you’re using.
There are a few tricks to getting great kick
drum sounds, but of course, all depend on the
desired end result. For a modern rock and metal
sound, I will generally remove the resonant
head – you will notice this can create an almost
‘beachball’ type sound, but by heavily padding
the front head with a pillow and a weight, you
can achieve the dry, tight and punchy modern
rock sound. Removing the front head reduces
the resonances and so suits modern styles.
Out of the Shell
For more traditional styles like jazz, indie,
classic rock or even drum’n’bass, I will leave the
resonant head in place and ensure the tuning
is good so that the two heads resonate in tune,
with no unwanted overtones. I will often stick
a few pieces of Moongel on the resonant head
just to tame it down a little.
Batter head
Whenever I mic from outside the shell, I will
include another microphone coming from
behind the drummer, pointing to the front
head at the point of contact from the beater.
I’ll then mix this mic into the kick sound to
increase the attack frequencies, proving more
cut when the kick sound is more rounded.

Using a kick tunnel
A kick tunnel is a contraption engineers will
often rig up using blankets or duvets (quite
often old kick drum shells are used too)
covering the front of the kick drum, giving
room to position microphones. With a kick
tunnel, microphones can be positioned out of
the shell while minimising the bleed from other
elements of the drum kit. This in turn allows
you to move the microphone further away from
the kick drum, which will give a softer, rounder
tone. Kick tunnels also reduce certain amounts
of kick drum bleeding into the overhead and
room microphones.
Microphone set-ups
Set-up 1: Modern Sound
As a rule of thumb, my first placement will always
be with an AKG D12 for a vintage sound or an
AKG D112 for a more modern, hyped sound.
Positioning-wise, I will place the microphone
inside the kick drum, usually in the central
position equidistant from the two skins and the
edges of the shell, pointing at where the beater
hits the skin. From here, you can use positioning
to EQ the sound on the drum naturally without
having to touch the desk. By moving the
microphone away from the beater to the back
of the shell, you can gain more resonant sounds,
and by moving it towards the beater, you
achieve a more direct, focused sound. Moving
“I will place the microphone inside the
kick drum, usually in the central position
equidistant from the two skins and the
edges of the shell, pointing at where the
beater hits the skin.”
REcording for 2014
it out towards the edge of the skin from the
centre softens the attack, while bringing it more
centrally increases it.
To add to this set-up, I will generally use a
subkick placed in the opening of the shell to
capture the air movement of the kick drum. This
is a very versatile method, which I will most often
combine with using a kick tunnel to increase
separation. As modern drum recordings can very
sample-orientated, I find this provides a tight and
consistent sound, so I don’t have to beat replace,
as is far too common.
Set-up 2: Classic Sound
For a more classic sound, I will use a two-mic
set-up. Firstly, I’ll use a condenser microphone
– traditionally a Neumann U47 Fet would have
been used. Here, I’m using the Audio Technica
4033A. Position the mic on the resonant head,
roughly two-inches away and in the centre.
This captures the round sounds of the kick
drum, including all the resonances of the head
and shell. Secondly, I’ll use a dynamic mic with
a cardioid pattern. This microphone is then
positioned from the drummer’s side of the kit
and directed at the batter head at the point
where the beater hits the head. This mic is
About Stephen…
Stephen J. Good is an experienced recording
used to add the attack and cut into the
engineer, producer and guitarist. Having
overall sound.
worked in the industry for nearly 10 years after
I will use this set-up for jazz, blues, certain
graduating with B.Sc Hons in Music Technology
types of rock and drum’n’bass. I really like this
(Audio Systems), he has worked on recordings
with Kate Nash, William Rees (Mystery Jets), Tom
Biller, The Jungle Drummer, The Dogs, Sky Arts,
BBC and countless other bands and artists. As
a guitarist he has performed with Black Poets,
touring with Pete Doherty and Supergrass.
Stephen currently records and produces at the
Vatican Studios in East London.
www.thevatican.biz
Website – StephenJGood.com
Email – stephenjgood@gmail.com
April 2014 DRUMMER 49
Feature
set-up for drum’n’bass because I like to think
of where the drum’n’bass sound comes from,
particularly the old-school forms where breaks
were sampled from 60s soul records. If I’m
using this set-up for drum’n’bass, I’ll probably
stick a subkick mic on the outer head to beef
up the sub and low-end frequencies.
EQ-ing
As I say with everything, try as hard as possible
to get the kick drum sound right in the
room, and EQ as much by tweaking your mic
positions. However, you will most likely find
that a little bit of EQ can bring the kick to life.
Here are some magic frequencies:
Boom
Found between 50-100Hz. For the more
modern sound, you’ll be looking at the lower
end of the range around 50-55Hz, and for the
more classic sound, 80-100Hz. Just boost a
little here – around 6-10dB.
50 DRUMMER April 2014
Cut
This is where the kick drum will cut through in
your mix, whereas the boom is the bass energy
you feel. This is found in the 2.5-3.5kHz range. Be
careful here as rock guitars peak around 2-2.5kHz,
so try to steer away from this area.
Click
As the description sounds, these are the ‘clicky’
frequencies very often heard in metal and rock
music. In the 90s, this went a bit crazy, but
nowadays we only introduce a little amount of
this so the cut is reinforced and the kick drum can
be heard on most speaker systems. This is usually
in the 4-6kHz range. About 3-6dB is probably as
much as you’d ever want to add.
Compression
Modern compression
For the tighter modern sound, quite high ratios
are used, between 6:1 and 8:1, with a fast attack
time of around 3ms and a release fast enough
that the gain reduction is back to 0dB for the next
hit. You want to be hitting around 6-12dB of gain
reduction, 6 for a more subtle compression and
12 for an extreme squash. To adjust this, change
your threshold settings and keep an eye on the
gain reduction meter. I will use variations of this
setting where drummers are more inconsistent
with their kicking, and so the compression will
even out the dynamics of the hits.
Natural Compression
In most cases, I won’t heavily compress kick
drums and try to keep as much of the player’s
dynamics as possible. So I’ll only lightly compress
with ratios up to 4:1 with slower attack times of
around 4-6ms. With the threshold, I’ll be looking
to get 3-6dB of gain reduction.
Next Month
Next month we will look at tom recording and
more mixing tips.
051.indd 51 11/03/2014 16:21
feature

Multimedia For Musicians

Want to add music to your website or blog? Read on;
Words: Kevin Baird

M
any musicians these days want to
promote their own music/playing
via their website or blog, especially
as home recording has become much more
prevalent in recent years. One of the simplest
ways to do this is by using SoundCloud as
either an embedded player on your site or as
an external link from your site. SoundCloud is
an online audio distribution platform based
in Berlin, Germany that enables its users
to upload, record, promote and share their
originally-created sounds. It has over 40 million
registered users and 200 million listeners
worldwide. SoundCloud was originally started
in Stockholm, Sweden, but it was properly
established in Berlin in August 2007 by Swedish
sound designer Alex Ljung and Swedish artist
Eric Wahlforss. It had the intention of allowing
musicians to share recordings with each other,
but it later transformed into a full publishing tool
that also allowed musicians to distribute their
music tracks. your tracks); Pro, which provides four make comments private); and Pro Unlimited,
total upload hours, 1,000 downloads, which gives unlimited upload hours (although
cHoose YouR levels unlimited playlist creation, further stats (count single sound file sizes are limited to 2GB and
There are currently three levels of SoundCloud plays, downloads, comments and likes, plus get total sound upload time per week is limited
subscription: Free, offering two total upload details on who’s listening), ‘spotlight’ feature to 30 hours), unlimited downloads, unlimited
hours, 100 downloads, unlimited playlist creation (highlight up to five sounds or playlists at the playlist creation, full statistics (see where your
and some stats (see the amount of plays, top of your profile) and a quiet mode feature listeners are, and where your sounds are being
downloads, comments and favorites of (hide comments and stats on your tracks or embedded, linked to and posted around the

52 DRUMMER April 2014


web), enhanced spotlight feature (highlight up to
five sounds or playlists at the top of your profile
and have your spotlighted tracks show up as
suggestions after your track has finished playing
in embedded players), quiet mode feature and
full support (prioritised customer support help).
Advantages of using Soundcloud
Soundcloud offers a range of different widgets
and players to suit most blogs and websites
including HTML5 and Flash widgets. One of the
widgets is a new jQuery powered SoundCloud
player that lives at the bottom (or top) of your
website or blog and enables visitors to listen
to SoundCloud tracks, playlists and favourites
from any user account. Their iOS friendly and
newly redesigned widget allows you to not
only embed your recordings and uploads on
your blog or website but also view information
about the sound, its creator, likes, comments
and plays, and easily share the sound to social
networks like Facebook, Twitter, and Pinterest.
SoundCloud is very user-friendly with a nice
clean interface that looks stylish and professional
and can be customised to suit your website’s
colour scheme and design style. You can also
edit the size of the players. You can view a clear
waveform of the track direct in the player and
users have the ability to leave comments at
different times of the waveform, meaning fans
can discuss specific parts of a track easily and
provide specific feedback to sections of a track.
If your fans love the killer drum fill in the bridge
of a track they can let you know by adding a
comment at the exact point. There are excellent
analytics and a timeline of plays, comments
and other demographics so you can see what
part of the world your listeners are and where
your sounds are being embedded, linked to
and posted around the web. There is a ‘quiet
mode’ so you can hide comments and stats to
the public on your tracks and each track has its
own page complete with a unique URL address.
Also, the mobile app allows for recording and
052-053 Multimedia_Rev2_NC.indd 53
Multimedia for musicians
uploading from a smart phone, which is great
for spontaneous recordings on the spot, and
users can also listen to your sounds using the
SoundCloud app on their smart phones or
tablets. Further advantages are that fans can
message you directly, and you don’t have to
worry about the disk space or bandwidth usage
of your website server as the sounds are hosted
on SoundCloud’s server.
While there are other options for adding music
onto your site or blog, with so much on offer,
SoundCloud is the obvious choice for getting
your material out there quickly, efficiently and
cheaply, and as a web developer, I recommend it
to all of my musical clients.
About Kevin Baird
Kevin runs a sucessful business specialising
in web development, digital marketing and
merchandise for artists, record labels and
events. The main service of his multimedia
company is developing customised blog
& shop based websites to allow clients to
sell audio and video in physical and digital
download formats, e-tickets and physical tickets
to events; clothing and merchandise, etc from
their own website by customizing templates,
which are a fraction of the price of a bespoke
site built from scratch.
They also offer website hosting &
maintenance, graphic design and merchandise
design & manufacturing.
kevin@impactmanagement.co.uk
www.impactmanagement.co.uk
April 2014 DRUMMER 53
12/03/2014 11:19
054.indd 54 11/03/2014 09:10

Drummer’s guide to who’s coming to a venue near you!
In association with Ents24
More tickets and tour dates available now at Ents24.com
Elbow
Saturday 5 April – LG Arena, Birmingham
Sunday 6 April – The SSE Hydro, Glasgow
Tuesday 8 April – Cardiff Motorpoint Arena, Cardiff
Wednesday 9 April – Phones 4U Arena, Manchester
Friday 11 April – First Direct Arena, Leeds
Saturday 12 April – Echo Arena, Liverpool
Monday 14 April – Capital FM Arena, Nottingham
Wednesday 16 April – The O2 Arena, London
For more details and tickets,
visit: http://bit.ly/1c8oujI
Funeral For A Friend
Thursday 24 April – The Fleece, Bristol
Friday 25 April – O2 Academy Islington, London
Saturday 26 April – Metropolitan University, Leeds
Sunday 27 April – Cardiff University SU, Cardiff
Wednesday 30n April – The Underworld, London
For more details and tickets,
visit: http://bit.ly/1eVD5P2
Tinie Tempah
Wednesday 2 April – Capital FM Arena, Nottingham
Friday 4 April – Motorpoint Arena, Cardiff
Sunday 6 April – BIC, Bournemouth
Monday 7 April – Echo Arena, Liverpool
Tuesday 8 April – TFM Soundworks, Middlesbrough
For more details and tickets,
visit: http://bit.ly/1hKadtz
Gig Guide
Memphis May Fire
Thursday 10 April – O2 Academy, Birmingham
Friday 11 April – Manchester Academy, Manchester
Saturday 12 April – O2 Academy, Newcastle
Sunday 13 April – Cathouse Nightclub, Glasgow
Tuesday 15 April – The Cockpit, Leeds
Wednesday 16 April – KOKO, London
Thursday 17 April – The Talking Heads, Southampton
Friday 18 April – The White Rabbit, Plymouth
For more details
and tickets,
visit: http://bit.
ly/1e0QD7H
Justin Timberlake
Tuesday 1 April – The O2 Arena, London
Wednesday 2 April – The O2 Arena, London
Friday 4 April – The SSE Hydro, Glasgow
Saturday 5 April – The SSE Hydro, Glasgow
Monday 7 April – Phones 4U Arena, Manchester
Tuesday 8 April – Phones 4U Arena, Manchester
Friday 11 April – LG Arena, Birmingham
Saturday 12 April – LG Arena, Birmingham
For more details
and tickets,
visit:
http://bit.ly/1ecxwX1
Canterbury
Tuesday 1 April – Studio 24, Edinburgh
Wednesday 2 April – The Duchess, York
Thursday 3 April – The Deaf Institute, Manchester
Friday 4 April – The Leadmill, Sheffield
Saturday 5 April – The Institute, Birmingham
Sunday 6 April – Bodega, Nottingham
Monday 7 April – The Louisiana, Bristol
Wednesday 9 April – Dingwalls, London
For more details and tickets,
visit: http://bit.ly/1jR4Qc9
April 2014 DRUMMER 55
Caught Live
Morgan Ågren Clinic
Where: Tech Music School (London) When: Saturday 1 February
W
hat do Frank Zappa, Fredrik Thordendal
(Meshuggah) and Devin Townsend
have in common? Well, besides being
responsible for re-inventing rock and metal
music, they all, at some point in their career,
chose Swedish native Morgan Ågren as their
drummer. I was blown away upon discovering
Morgan’s intricate and precise drumming on
Thordendal’s Special Defects album. Needless to
say I was thrilled to finally see him perform up
close in the masterclass recently held at London’s
Tech Music School.
After a short introduction, Morgan takes his
place behind the kit and immediately embarks on
a 20-minute long improvisation. It is obvious to
everyone present that this man has a unique voice
on his instrument. He plays with a joy and passion
that are spontaneous and natural, like a kid that
is unaware of bars and tempo, unrestrained and
fearless, yet with the technical demand of a true
56 DRUMMER April 2014
Words: Sven Dupon
master. There is no limit to his imagination: loose
bass-drum screws become chimes, his sweater
turns into a hi-hat dampener and his talkback
mic becomes a pulsating sub-bass amplifier. He
will later explain that when improvising, he has
no idea of what will happen. “Sometimes,” he
says, “I don’t like what comes out, but sometimes
magic happens.” Like on that famed evening in
Stockholm in May 1988 when Frank Zappa invited
Morgan and his good friend and keyboard player
Mats Öberg on stage to perform with him. The
fact that they were both still in their teens and
that Mats was born blind makes it even more
exceptional. When describing this event in a later
interview, Zappa’s exact words were “They played
unbelievable, just unbelievable.”
Unbelievable is also the right word to
describe how Morgan comes up with his odd-
time signature patterns that he seamlessly
superimposes over a quarter-note pulse. It is
a pleasure to witness how he creates the most
complex grooves as he takes us through the
creative steps while building them. He admits
that at times he is unable to explain the bars or
time signature of certain passages, but this only
proves that his connection with his instrument is
organic in nature and originates from the heart
and soul instead of the mind.
This is demonstrated in a rather hilarious way
when he is asked to play on the drums how he
felt when he met his wife and kissed her for the
first time. What follows is the most ferocious
blastbeat I’ve ever witnessed and judging by the
enthusiastic shouts and applause of the crowd,
everyone else in the room agrees!
In a world where more often than not
technicality seems to be valued more than
musicality, it is a true gift to find a combination
of the two in the remarkable playing of
Morgan Ågren.
 Caught Live

MORGAN ÅGREN – 7/8 EXERCISE TRANSCRIBED!

TRANSCRIPTION BY SVEN DUPON
Below is a transcription of some of the ideas/patterns Morgan covered in his
event. The notation key for each is as follows…

EXAMPLE 1
Here is a simple 7/8 pattern in which the left hand plays the snare and the right hand the crash.

EXAMPLE 2
Here the left hand alternates between single notes played on snare and hi-hat.

EXAMPLE 3
Here the left hand plays a different grouping – two on snare followed by two on hi-hat, resolving after four bars.

EXAMPLE 4
Now the right hand alternates between two different crash cymbals.

EXAMPLE 5
Finally combine the double note pattern from example three with the twin crash approach from example four.

April 2014 DRUMMER 57

Caught Live

Sakae Live!
Where: Camden Underworld When: Tuesday 18 February
Words: Brent Keefe Images: Andrew Harbon

with percussion, with percussion and bass

and, finally, the whole track. His groove was
immaculate throughout.
After a short interval, the three returned to
answer questions on topics including tuning,
Sakae shells, application of rudiments and
hardware. Unusually, they also received two
questions from non-drummers! A bass player
enquired what informed Ash’s decision, when
recording, to play out a little more. In response,
Ash stated that when playing with the likes of
Pino Palladino, he rarely wanted to fill, but he also
suggested that the traditional bass/drums roles
are changing in some genres. Skunk Anansie’s
guitarist posed the final question, asking Mark
how he prepared for the upcoming acoustic SA
tour and also which fill he was going to miss
playing the most.
To close, the three drummers played three
short improvisations, with each drummer setting
one of the improvs up. Although three different
drummers, this highlighted their common
traits of listening, sensitivity, dynamics and

I
t’s safe to say that Sakae’s first UK drum event Big Potato’, but the added note density did musicality…. the biggest lesson of the evening.
was a success, with the respectable, though nothing to diminish his power.
not capacity, crowd witnessing some fine Ash Soan closed the first-half on his four-piece
drumming courtesy of Phil Gould, Ash Soan and Trilogy kit, dispensing his silky grooves with four
Mark Richardson. tracks, opening with a one-handed sixteenth
Playing a four-piece Trilogy kit, Phil Gould hi-hat groove on Tony O’Malley’s rendition of
opened the evening, providing a medium tempo the classic ‘Use Me’, following it with a half-
broken sixteenth-note hi-hat groove for his Level time shuffle on the Steely Dan-influenced ‘My
42-influenced composition ‘Colour Of My Pain’, Existence’, another O’Malley track. He played
and continued with the dreamy 3/4 vibe of ‘Fear some spacious but perfectly placed tom fills on
Of Fear’ and a Latin groove track which allowed Lewis Taylor’s ‘Stoned, Part I’, closing with one of
him to flex his paradiddles somewhat before his favourite grooves on Grace Jones’ ‘Slave To
closing with his 7/4 composition, ‘Stop Clocks’. The Rhythm’, demonstrating the groove alone,
Between tracks, he encouraged drummers to
write their own music, stressed the importance
of groove and learning rudiments and suggested
swapping one’s leading hand to obtain different
feels and sounds.
Mark Richardson, playing a six-piece Celestial
kit (including secondary snare), was the only
one of the three to use in-ear monitoring
and played along to six Skunk Anansie tracks
including ‘Break You’, ‘My Love Will Fall’ and
‘Hedonism’. Often using considerable arm
motion, he noticeably raised the volume level
while still playing very dynamically, delivering
every note with total and utter conviction.
During ‘I Believed In You’, his backbeats
originated from above his head and he also
threw in a cool double pedal fill, and, although
he later suggested that he was ‘not gig fit’, that
certainly wasn’t evident in his playing. The
busiest and most syncopated groove of his
performance came on the set-closing ‘Charlie

58 DRUMMER April 2014

059.indd 59 11/03/2014 13:39
 The upbeats, the downbeats and everything in between

62-64 Mapex Armory kit

66-67 VK Drums 6” 74 J. Leiva Mezquita Cajón

Carbon Fibre Side Snare

Pricing: We quote RRP prices in all our reviews, but we recommend that you shop around and visit your local drum retailer for best ‘street’ prices on all products featured

60 DRUMMER April 2014

060-061 Gear Leader_Rev1.indd 60 12/03/2014 10:03

 68 Paiste Formula 602 Modern Essentials

72 Fusion Premium Series drum bags

April 2014 DRUMMER 61

060-061 Gear Leader_Rev1.indd 61 12/03/2014 10:03

 GEAR REVIEW

Press here Heads Up

for extra Mapex Armory kit
digital content Price
Shell pack (including tom holders and clamps):
£849
Contact
Korg UK Ltd.
01908 304600
www.mapexdrums.com

62 DRUMMER April 2014

062-064 Mapex_rev4_NR_NC.indd 62 18/03/2014 10:56


Mapex
Armory kit
A high-quality six-piece kit for less than £900
Words: Nick Carter Images: Thru-A-Lupe Photographic
I
n the last issue, we looked at Mapex’s new
Armory range of snare drums – five superb
instruments that offer a lot of drum without
putting a serious dent in your wallet. This time,
we have a full kit from the range, and after
having such an enjoyable time with the quintet
of snares, anticipation is high…
062-064 Mapex_rev4_NR_NC.indd 63
mapex armory kit
In Detail
The kit consists of a 22”x18” kick, 10”x7”
and 12”x8” rack toms, 14”x12” and 16”x14”
floor toms and a 14”x5.5” Tomahawk snare
drum. All the shells are made of a six-ply,
7.2mm thick hybrid of birch and maple,
with Mapex’s new SONIClear bearing edge
system featured throughout. This system is
designed to maximise shell-to-head contact
by slightly moving where the bearing edge
and head meet so that it’s further into
the actual head and away from the collar.
This promises to provide quicker and
easier tuning of each drum and promote
resonance. The kit reviewed comes in
a striking Mantis Green with powder
black hardware throughout. Each drum is
adorned with small, low-mass lugs: eight
per side on the kick and floor toms and six
per side on each of the rack toms. Each of
the toms features 2.3mm triple-flanged
hoops, with the kick sporting matching
wood held in place by rubber-insulated
claws. The undrilled kick also comprises
a pair of medium-sized spurs in black
powder coating. The rack toms are stand-
mounted using L-shaped rods and ball/
socket angle adjusters in a free-floating
SONIClear mount system (taken from the
company’s Saturn range) neatly attached
to the bottom of two of the drum’s lugs.
This means you don’t have to disassemble
the whole tom mount when changing heads
and tuning is not hindered in any way. The
floor toms are housed on three medium-
thick legs with sprung feet (another feature
from Mapex’s Saturn series), with chunky
rectangular mounting brackets to keep
everything in place. The whole kit comes
with Remo heads: the toms having coated
Ambassadors and thinner resonant
heads, the kick a coated white front head
with Mapex logo and a clear batter
head, both of which incorporate
internal muffle rings to control any
unwanted ring or overtone.
In Use
At its lowest tuning, the kick drum provides a
rumbling, aggressive tone, shaking anything in
its path that isn’t nailed down. Well-projected
April 2014 DRUMMER 63
18/03/2014 10:56
 GEAR REVIEW
and incredibly deep, it growls superbly with a tone
that would work well in heavier settings. At this
tuning, quieter notes provide little in terms of tone
or depth, but full-on onslaughts give plenty to get
excited about.
Take the tuning up a little and the drum opens
up a little more, especially at lower volumes,
giving a much fuller sound with plenty of low-end
and sub-bass frequencies. Played louder, the drum
retains its attacking, aggressive character with
slightly more body as resonance is increased to
give a much more rounded tone.
The 16” floor tom is a beast when tuned very
low: it offers a sound not dissimilar to a gong
drum, and could easily be used in such a way.
When you take the tuning up slightly, both the 16”
and 14” resonate well, with low, deep tones and a
good amount of volume and projection. The rack
64 DRUMMER April 2014
062-064 Mapex_rev4_NR_NC.indd 64
toms offer precise tones for a deep attack. The
powder black hardware looks superb, especially
with the Mantis Green finish. The whole kit feels
solid and secure, and it gives the vibe of an
instrument with a much higher price tag.
Conclusion
This set offers superb build and finish quality
for an exceptional price. Tuning is a quick
and simple process: the SONIClear design
does exactly what it promises, providing full
sounding tones from each drum for minimal
effort. With various hardware elements from the
Saturn series and a Tomahawk snare drum, this
kit gives you everything you need for a price
that won’t break the bank!
18/03/2014 10:57
065.indd 65 11/03/2014 15:32
 GEAR REVIEW
VK Drums
6” Carbon Fibre
Side SnarePick up a pocket rocket snare to add
some punch to your percussion
Words: Nick Carter Images: Thru-A-Lupe Photographic
L
ast issue we reviewed a superb stainless
steel snare courtesy of Sheffield based
drum builders VK Drums. This issue we
take a look at a slightly different offering from
VK, which has to be heard to be believed.
In Detail
The diminutive drum features a carbon fibre
shell along with four mini turret-style, single
point lugs housing specially designed tension
rods to take care of tuning duties at each end
of the shell. Here’s where you notice one of
the many impressive finishing touches on the
drum, as each rod is engraved with VK Drums’
moniker. The lugs and rods hold in place
12mm thick stainless steel hoops, which are
hand drilled before being brushed and mirror
polished to a gleaming finish. The drum comes
supplied with Evans heads top and bottom:
a G1 coated takes care of batter duties while
a thinner Resonant adorns the underside.
66 DRUMMER April 2014
066-067 VK_Rev4_NR_NC.indd 66
Elsewhere the drum comes equipped with
one of VK’s laser etched 003 strainers and
matching butt-plate, holding in place a cut-
down, 10-strand set of Puresound snare wires.
Rounding things out is a chunky bracket for
mounting the snare on any standard L-shaped
tom arm (or similar) as well as a classy-looking
round badge.
In Use
Aside from the small dimensions of the drum,
one of the first things to strike you is the
weight. For such a small instrument, it weighs
almost as much as a more traditional full-sized
wooden snare. This is largely due to the hefty
stainless steel hoops that adorn the drum,
which feature the same manufacturing process
– laser cut from sheets of Sheffield steel, then
hand drilled – as the hoops found on their
larger drums, including the superb snare we
looked at last issue. The rest of the hardware
18/03/2014 10:48
 VK Drums 6” Carbon Fibre Side Snare

Heads Up
VK Drums 6” Carbon Fibre Side
snare
Price
£299
Contact
VK Drums
0800 002 9560
info@vkdrums.com

is equally well manufactured (as indeed is

the shell) making for a superbly finished
handcrafted drum that features exquisite
attention to even the smallest of details. This
is evident as you play. It provides a very clear
and precise sound: obviously it’s high in pitch,
but it certainly doesn’t lack body as each note
Enter our
carries enough depth for it to be considered
more as an optional sound-source rather than
a slight novelty as its dimensions may first
competition to
win this drum
Win
suggest. Notes are loud and well projected, worth £299!
with a noticeable amount of high-pitched
The very kind folks at VK Drums are
ringing overtone that benefits from a slight
offering one reader the chance to win this
amount of dampening to give a more useable
unique drum. To be in with your chance
and musical sound. All of the various hardware
of winning, head to our website (www.
components work perfectly, with tuning
drummermagazine.co.uk) and answer this
being quick and simple (although admittedly
very simple question:
it doesn’t have the widest of tuning ranges)
Which snare drum do VK highlight as their
while mounting the drum is effortless.
flagship model?
If you’re looking for a snare that offers
(Tip: head over to www.vkdrums.com and visit
something slightly different, then this little
the ‘Snares’ page)
firecracker may well provide what you’ve been
Closing date for the competition is Tuesday
searching for. I’m a snare fanatic – owning
22 April with a winner chosen shortly after.
drums from 8” through to 15” – and I’d be more
Usual terms and conditions apply. Good luck!
than happy to add this drum to my collection.

April 2014 DRUMMER 67

066-067 VK_Rev4_NR_NC.indd 67 18/03/2014 10:48

 GEAR REVIEW

Press here
for extra
digital content

Paiste Formula 602

Modern Essentials
rides and hi-hats
A fresh take on a classic cymbal line designed with a modern drumming master
Words: Nick Carter Images: Thru-A-Lupe Photographic

68 DRUMMER April 2014

068-070 Paiste cymbals_rev4CK_NC_NR.indd 68 18/03/2014 10:56


P
aiste’s Formula 602 series of cymbals has
long been associated with musicality
and quality. The original range, launched
in the late 50s, was popular with a wide range
of drummers until the company discontinued
the series in the mid 90s.
This was due to a shift in musical attitudes,
as many players looked for more volume
and aggression rather than the subtlety
and musicality the range offered. After re-
launching the series back in 2011, Paiste went
on to collaborate with drumming colossus
Vinnie Colaiuta to create the new generation
of 602s: the Modern Essentials series, launched
just over a year ago.
Demand for the cymbals has been so high
that it’s taken this time for a set to become
available for review, but when the package
arrived, we couldn’t wait to jump straight in.
In Detail
Each cymbal in the series is constructed from
068-070 Paiste cymbals_rev4CK_NC_NR.indd 69
formula 602 modern essential cymbals
Heads Up
Paiste Formula 602 Modern
Essential rides and hi-hats
Price
22” ride: £564
20” ride: £468
15” hi-hats: £584
14” hi-hats: £533
Contact
Korg UK Ltd.
01908 304600
www.paiste.com
a bronze alloy (80 per cent copper/20 per
cent tin), which is handcrafted from start to
finish. Subtle yet noticeable hammer marks,
combined with tight bands of lathing, adorn
the polished bow of each model, and each
cymbal is relatively thick and of a medium
weight. Simple, bold black logos and model
details stand proudly on both the top and
underside, adding to the classic feel and
appearance of each cymbal and ensuring that
each provides a nod to the past success and
popularity of the range.
In Use
22” ride
Putting tip to bow gives a clear, well-defined
note that couples an initial bright tone with
a full-bodied, slightly dark accompanying
overtone. As the notes gradually fade,
brightness and fullness remain paired. Often
as a ride cymbal fades, the initial note will
quickly diminish to leave just the deeper
April 2014 DRUMMER 69
18/03/2014 10:56
 GEAR REVIEW
Press here
for extra
digital content
tones, but this is not the case here, making for
a rounded overall sound. Playing up on the
bell provides a full sounding, loud, clean tone
that will ensure the cymbal is heard without
being overpowering. Crashing on the edge
gives a loud and well-projected note that really
highlights the cymbal’s darker side. It fades
with a shimmering deep note that, while loud
and prominent, is in no way overwhelming. At
no point do crashed notes or those played on
the bell overshadow anything played on the
bow, making for an overall feeling of control
and musicality.
20” ride
This model displays many of the same traits as
its larger sibling: clarity, definition, brightness,
warmth and masses of character. Slightly
higher in pitch than the larger model, it
provides a clean sound note when played with
the tip of the stick, with slightly more of the
darker-sounding wash building up as you play,
although once again this doesn’t at all threaten
to overpower the clarity of the notes produced.
Bell-driven patterns are produced loudly and
proudly, while crashing gives a full-bodied,
loud, dark note that shimmers as it gradually
fades. Having played both rides side-by-side,
70 DRUMMER April 2014
068-070 Paiste cymbals_rev4CK_NC_NR.indd 70
they work well as a pair, with only the pitch
difference separating them.
15” hi-hats
Like the two rides, the first thing to highlight
about these hats is their clarity and definition.
As soon as you put stick to metal, no matter
what volume, you are met with an instant
note that couples brightness and attack with
warmth and depth. Patterns played are easily
produced: no matter how complexly you play,
each note is as clear as the last, with full-
sounding tones provided whether you play
lightly on the bow with the tip of the stick or
more heavily on the edge with the shoulder.
When playing half open, you get a deep,
full-bodied note that sizzles nicely as it
gradually fades. Fully open to fully closed
patterns provide a funky-sounding bark with
tons of depth and character. Well rounded and
highly musical, this pair would work well in a
host of situations.
14” hi-hats
This smaller pair of hats offers exactly the
same qualities as the 15” models, with only a
very small difference in pitch to separate the
two. Perhaps slightly faster in terms of open
to closed notes, there really isn’t very much
to choose between the two sets, so I would
suggest it comes down to a player’s preference
of size rather than tonal differences when
looking at the choice of hi-hats available within
the range. Again, superb cymbals that would
handle most musical situations well, and do so
with ease.
Be sure to check out next month’s issue of
Drummer, where we’ll be taking a look at
crashes, splashes and effects cymbals from the
602 Modern Essentials range.
Conclusion
All of the cymbals looked at so far share very
common characteristics: warmth, clarity
and consistency coupled with chameleon-
like qualities that would see them at home
in a range of musical settings. While there
may not be much to choose between the
different size variations of the rides or the
hats, all work beautifully together as a series
and complement each other perfectly.
Highly musical, exquisitely made and tonally
superb, I really can’t recommend this series
highly enough.
21/03/2014 11:19
071.indd 71 11/03/2014 13:42
 GEAR REVIEW

72 DRUMMER April 2
2014

072-073 Fusion_rev3_CK_NC.indd 72 18/03/2014 10:50

 FUSION PREMIUM SERIES DRUM BAGS
HEADS UP
FUSION PREMIUM SERIES
DRUM BAGS
PRICE
Fusion
Premium Series
Beat 22 Cymbal Bag: £199.95
Beat Snare Backpack: £149.95
Beat Pro Backpack: £84.95
Beat 12 Stick Bag: £49.95
drum bags
CONTACT
Fusion Products Co Ltd
0800 1300 264
www.fusion-bags.com
Protect your gear with this new range of padded cases
Words: Nick Carter Images: Thru-A-Lupe Photographic
F
usion may well be a new name on the
drumming scene, but its instrument
cases have been offering protection for
a range of instruments since the company
launched in 2008. After showcasing their wares
at last year’s London Drum Show, we were
very keen to take a look at some of the
available range.
BEAT 22 CYMBAL CASE
This particular case features 30mm high-
density foam padding to protect your precious
discs, with the bag holding up to six cymbals
(of a maximum 22” diameter) in its main
compartment, and hi-hats/splash cymbals
in the front pocket. The interior of the case
is lined with luxuriously soft fleece, with the
added advantage of having removable 10mm
fleece sleeves acting as dividers in both
compartments to keep your cymbals separated.
The case also features a third compartment
containing a removable stick bag, which is big
enough to hold multiple sticks and accessories.
The rugged construction of the case sees it
sporting thicker rubber padding around the
bottom and hard-rubber studs for it to stand
on, as well as heavy-duty zips with rubber
zip pulls. This spotlights one slight area that
could be improved on, as the zip for the main
compartment is designed to accommodate a
lock, but the front pocket holding your hi-hats/
splashes doesn’t: it would have been good to
have this option on both so that all cymbals
can be equally protected. There are two ways
to carry the case: either using the strong top
handles that are soft-padded to protect your
hands, or as a backpack using the padded
straps and associated clips tucked away in the
back of the case. Fusion also produce a handy
trolley system that the case can attach to if you
prefer to wheel your cymbal collection around
– particularly useful if weight is a consideration.
BEAT SNARE BACKPACK
Like the cymbal case, the Beat snare case is
made from 30mm high-density padded foam,
with a water-resistant polyester exterior. The
case can accommodate snares of varying
072-073 Fusion_rev3_CK_NC.indd 73
diameter (up to 15”) and depth up to 7” thanks
to the inclusion of a series of padded blocks
to protect smaller drums. As with the cymbal
case, it features several external pockets, one
of which containing a removable stick bag
so you can equip yourself with any number
of accessories you may need on your musical
travels. The rubber reinforcement sections
make this a rugged backpack, which you can
carry by its strong top handle, on your back
using the stowaway straps, or on your shoulder
with the included strap. The backpack matches
its cymbal-carrying stablemate for protection
and portability.
BEAT PRO BACKPACK
Slightly thinner than the models looked at
so far, the Beat Pro backpack is made from
15mm foam, with an assortment of pouches
and pockets to enable you to carry everything
you need when travelling. Big enough to
accommodate laptops up to 15”, the case
also features a removable stick bag as well as
a reinforced rubber base to avoid unwanted
wear. Having used the case on a number of
different gigs and rehearsals, we found it useful,
especially thanks to the amount of space it
provides and the easy-carry options.
BEAT 12 STICK BAG
This hefty stick bag is designed to carry
a multitude of sticks, brushes, rods and
accessories. Made from 10mm high-density
foam, it also features many of the other
qualities found on the rest of the range:
heavy-duty zips, strong carry handles
and stowaway backpack straps. The main
compartment not only houses your various
striking implements, but also has pockets for
other related accessories – earplugs, drum
keys, pens and more – and a pouch big enough
to accommodate an iPad or similar. On the
outside, multiple pockets offer further storage,
although if too much is contained within each,
the case becomes slightly too large and heavy
to hang on to your floor tom in a traditional
fashion. Like the rest of the range, the stick bag
is well built and comfortable to carry.
April 2014 DRUMMER 73
18/03/2014 10:50
 GEAR REVIEW

J. Leiva
Mezquita Cajón
Innovative percussion with a traditional Spanish flavour
Words: Nick Carter Images: Thru-A-Lupe Photographic

74 DRUMMER April 2014

074-075 Leiva cajon_rev4CK_NC_NR.indd 74 18/03/2014 10:57


S
panish cajón builder Pepe Leiva
produces instruments for the traditional
Spanish cajón market as well as for
players in more Western-based styles. All of
the instruments produced are made from 100
per cent recycled materials, with the finishing
process completed by hand to exacting
standards. The instrument we have here is
tagged by the company as one of their best-
selling models, so, understandably, we were
keen to get started…
In Detail
The cajón stands at 48cm high, and is
constructed from seven-ply birch to give
a thickness of 12mm. Added to this is a
074-075 Leiva cajon_rev4CK_NC_NR.indd 75
3mm frontplate of laminated Russian birch,
with all aspects smoothly finished to a very
high standard. Four soft rubber feet on the
underside ensure that everything remains
perfectly in place as you play.
Inside, four single guitar strings run in pairs
in a V shape down the front panel, and this is
where you find the most innovative feature
that the instrument boasts, as each pair is
tuneable thanks to the direct tuning system
(DTS) found on the rear of the cajón. Two dials
on the rear are attached to tuning rods on the
inside that can alter the tension of the wires,
which for an instrument in this price range is
remarkable. Often, the wires will be adjustable
but you need tools to adjust miniature screws
on the underneath or have to contort your
hand to reach inside the drum for hidden
bolts. The inside is well finished and as smooth
as the outside, with the large soundhole
being very soft to the touch. The Mezquita
also comes with a handy carry bag, giving
you everything you need to get out playing
straight away.
J. Leiva meZquita cajÓn
Heads Up
J. Leiva Mezquita Cajón
Price
£159
Contact
Soar Valley Music Ltd
0116 230 4926
www.leivapercussion.com
In Use
With the wires tensioned at a medium setting,
the Mezquita offers deep, warm and solid-
sounding bass tones that are loud and well
projected. Well contrasted from the crisper,
snappier snare notes produced, you get an
excellent amount of definition between the
different tones, with the option of more or less
buzz courtesy of the DTS system. Adjusting the
tension of the wires is quick and simple, with
small changes making an instant and noticeable
difference in the sound produced. Taking the
tension down to its loosest point gives a much
roomier sound, with lots of buzz when playing
either snare or bass notes. Taking the tension up
offers a much tighter, crisper sound, although
there is an optimum point, which when passed
slightly chokes the notes produced. Overall, this
is a well-designed, great sounding and expertly
constructed instrument for a sensible price tag. If
you’re looking for a first foray into the percussive
world of cajón or simply want a new instrument
with a host of features that won’t break the bank,
this could well be the one for you.
April 2014 DRUMMER 75
18/03/2014 10:57
076-077.indd 76 11/03/2014 09:15
076-077.indd 77 11/03/2014 09:15

80 Dean Hendy
Kick Drum 101 – Part I
81 Pete Lockett
Ratamadiddles – Part IV
82 Steve Rooney
Sticking To Time – Part III
84 Jungle
Drummer
Enhanced Steppa Grooves
85 Nick Carter
Slick Sixes – Part II
86 Philippe
Castermane
Jazz Time – Part III
87 Jamie Smale
Tasty Timbales – Part II
88 James Hester
Clave Co-Ordination
– Part V
90 Steve Timms
Kick And Snare Workout
– Part II
78 DRUMMER April 2014
80 Dean Hendy
Dean is an in-demand professional session
player and clinician, regularly performing
with artists such as Jason Donovan and
for West End Shows. Dean also teaches
in his native Lincoln, as well as providing
workshops and demonstrations at drum
events up and down the country.
Dean is very proud to endorse Gatton
Drum Company, Zildjian Cymbals, Evans
Heads, Vater Sticks, Protection Racket,
Hardcase and Stageworks Gear.
www.deanhendy.com
84 Jungle
Drummer
Able to reproduce modern
programmed beats, Jungle Drummer
has worked with live outfits London
Elektricity, A Guy Called Gerald,
DJ Grooverider and DJ Fu. Jungle
examines modern beats and breaks,
bringing what he plays live to these
pages and giving you the freshest
way to play the drums. Jungle proudly
plays Murat Diril cymbals, Sonor
drums, Vater Sticks and Evans Heads.
www.thejungledrummer.com
87 Jamie Smale
Jamie is a percussion, general music and
diploma examiner for Trinity College
London with recent examining tours
having included India, Hong Kong and
Sri Lanka. He also freelances at the Graz
Opera (in Austria) and with Ensemble
Zeitfluss, and is the director of Music
Academy Smale. Jamie received a
distinction for his postgraduate diploma
from Trinity College of Music and has
taught at Dartington College of Arts and
Channings Wood Prison.
www.musicacademysmale.com
level
Beginner
81 Pete Lockett
Pete is a versatile multi-
percussionist immersing himself in
percussion styles from around the
globe. Diverse artists have called
upon his skills; Björk, Peter Gabriel,
Robert Plant, Bill Bruford, Jeff Beck,
Zakir Hussain, Steve Smith, Jarvis
Cocker, and more. Pete has released
seven albums and his new book
Indian Rhythms For The Drum Set is
available from Hudson Music
www.petelockett.com
85 Nick Carter
Nick has a busy career as a professional
musician. As well as being editor of
this very magazine, he is also an active
educator and working musician,
playing countless gigs and sessions
throughout the country, working
with artists such as TM Stevens, Marco
Mendoza and Doug Wimbish to name
but a few. He is also just putting the
finishing touches to first tuition book
due for release later in the year.
www.nick-carter.co.uk
88 James Hester
James has been working with artists as
diverse as Malachai and Geoff Barrow
(Portishead) through to Pitchshifter’s
Mark Clayden. Current projects: Cars
on Fire (Undergroove Records) and a
studio project with Damon Minchella
(The Who/Ocean Colour Scene/Paul
Weller) and Kieron Pepper (Prodigy).
He is also head of drums at BIMM
Bristol. He endorses Mapex, Paiste, Vic
Firth, Remo and Protection Racket.
For full bio see: www.jameshester.co.uk
james@jameshester.co.uk
level level
Intermediate Advanced
Contents
82 Steve Rooney
Steve has been playing drums
for 26 years, in which time he
has recorded at top studios,
toured internationally and taught
extensively. He became a well-
known hard rock/metal player
through the 2000s touring with
such bands as Kill II This, Profane
and Happylife. Now a versatile
pop/rock drummer, tutor and
session player.
86 Philippe
Castermane
Since moving to London in 2001,
Philippe has been involved in many
sessions for TV (including BBC and
Channel 4), albums and videos. He has
worked with Dave Meegan (U2), Phil
Vinall (Placebo) and Jay Stapley (Roger
Waters, Mike Oldfield) to name a few.
He is the Deputy Head of Drums at
Tech Music School. Philippe proudly
endorses Murat Diril cymbals.
90 Steve Timms
Steve’s passion is to provide and
promote top quality education for
drummers, working with students
at the Back 2 the Beat Drum
Academies that run throughout
Essex. One of Steve’s students won
Young Drummer Of The Year 2007
and in all the years he has been
putting students through the Trinity/
Guildhall exams he’s never had a fail.
www.back2thebeat.co.uk
DRUMMER’S
EXPERT TUITION
Are you sitting comfortably? Then we’ll begin…
In our quest to find out more about our
wonderful tuition team, this issue we talk to
Dean Hendy to get an insight into his teaching
approach and glean some ‘Hendy hints’ [Sorry,
couldn’t resist. ED] to help your playing...
HOW LONG HAVE YOU BEEN
PLAYING, AND WHAT OR WHO
INSPIRED YOU TO FIRST PICK UP
STICKS?
Thanks to my mum and dad I picked up sticks
(well, wooden spoons) at a very early age, hitting
pots and pans and anything in sight. Growing up I
had loads of music playing round the house of all
different genres, but I always loved Motown and
70s disco like Earth, Wind & Fire and the Jackson
5. Something really caught my attention in the
grooves being played, especially the sound of the
kick drum and snare.
WHAT’S YOUR CURRENT SET-UP?
I endorse Gatton drums, Zildjian cymbals, Vater
sticks and Evans heads.
WHO ARE YOUR DRUMMING
HEROES?
Dennis Chambers, Dave Weckl, Steve Gadd, Buddy
Rich, Jeff Porcaro, Vinnie Colaiuta, Ricky Lawson,
Meg White and too many more to mention!
AND IF YOU HAD TO NARROW IT
DOWN TO JUST ONE PLAYER?
For me I’m going to go with one of the first ever
drummers I watched live and that is Dennis
Chambers. The reason I chose him is his groove
playing is on the money all the time. I’m sure he
has a metronome built in to his head! From the
NOTATION KEY
first minute you hear him play you know who it is
instantly. Add to that how completely owns the
stage and his chops, well, I rest my case.
WHAT’S THE BEST PIECE OF
DRUMMING ADVICE YOU’VE EVER
BEEN GIVEN?
Always play what’s needed and required for the
musical situation. Also be your own person and
maximise your strengths as a drummer.
WHEN DID YOU FIRST START
TEACHING?
I always helped friends through the years, but
started taking on students properly when I was 25,
so about 12 years.
WHAT PERCENTAGE OF YOUR TIME
(PROFESSIONALLY) WOULD YOU
SAY IS TAKEN UP BY TEACHING?
I’d say about 45 per cent.
WHAT THREE THINGS DO YOU
THINK STUDENTS NEED TO LEARN
TO BECOME BETTER PLAYERS?
Well there are two things that scream out to me
straight away – eyes and ears! These two things
don’t really get a look in when people talk about
practising, but they are a major part of your
learning and progression as a musician. We take
our ears and eyes for granted sometimes, but for
learning musical awareness and the skill to follow
and read people they are massive factors in our
world. The third thing would be patience.
WHAT’S YOUR FAVOURITE
RUDIMENT/STICKING PATTERN?
Accented eighth-note triplets
HOW IMPORTANT IS IT TO BE ABLE
TO READ MUSIC?
It added strength to my game, which was an
advantage and took me to other areas of the
drumming spectrum. I’m now teaching a lot of
professional drummers to get their sight-reading
up to scratch. If there are other ways to push
yourself, go for it, but it’s not just the case of
just being able to read, it can also help you with
learning new stuff and many other areas.
WHAT’S THE MOST
INSPIRATIONAL DRUM
PERFORMANCE/CLINIC/DVD
YOU’VE EVER SEEN?
For me it would have to be Dave Weckl’s A Natural
Evolution on VHS. I had to buy two copies as it got
abused being played too much.
DO YOU SEE ANY COMMON
TRAITS WHEN TEACHING THAT
STUDENTS OFTEN NEED HELP
WITH?
Mostly it’s just technique issues, like sorting out the
grip and getting posture right.
COULD YOU OFFER OUR READERS
SOME WISE WORDS THAT HAVE
HELPED YOU OVER THE YEARS OR
THAT YOU’VE FOUND HELPS YOUR
STUDENTS?
Always brush up on your rudiments. Ninety-five
per cent of drumming is based around some sort
of sticking pattern. They’re also part of every exam
and are great to warm up with as well.
April 2014 DRUMMER 79
TUITION
Dean Hendy
Kick Drum 101 – Part I
Want to get the best sound from your kick drum? Read on…
F
ollowing on from the Snare
Drum 101 series, where
we looked at a wide range
of topics related to getting the
most out of your snare, we’re now
going to start a new series looking
at everything you need to know
relating to your kick drum. We
will be going through everything
from pedals to skin selection
and dampening to get a range of
different sound options.
To begin with, let’s look at what
a kick drum actually consists of
to make it function: shell, hoops,
tension rods, lugs, spurs, heads
and pedals. There may also be
mounting hardware for tom posts
depending on whether your drum
is drilled (includes such hardware)
or un-drilled (where the toms
mount from cymbal stands/rack
systems). Both are common.
THE (W)HOLE TRUTH
The first thing I want to cover in
a little more detail is the age-old
question: should the resonant
(front) head have a hole cut
into it? The main purpose of a
resonant head is to react to the
moving air that’s set into motion
when the batter head is struck,
creating different tones and
adding depth and projection
to the sound of your drum. If
you want to cut a hole in your
resonant head, it should be for
sound and miking purposes
and not just for show. It can be
a very important decision, as
it will change your kick drum
sound dramatically. You should
also think about the size of the
hole you cut: ideally somewhere
Dean is an in-demand professional session player and clinician with countless musicals, theatre shows, orchestral concerts and
thousands of gigs to his name. Regularly performing with artists as diverse as Jason Donovan and for West End shows, Dean
also teaches in his native Lincoln as well as providing workshops and demonstrations at drum events up and down the country.
Dean proudly endorses Gatton Drum Company, Zildjian Cymbals, Evans Heads, Vater Sticks, Protection Racket, Hardcase, Stageworks Gear, Mapex Hardware,
Drumtuna, Mr Men Books and Direct Isolation Headphones. www.deanhendy.com
80 DRUMMER April 2014
“The main purpose of a resonant head is to react to the level
moving air that’s set into motion when the batter head
is struck, creating different tones and adding depth and Beginner
projection to the sound of your drum.”
between three to five inches is
perfect. Any more and your drum
will start sounding flat – almost
like a tom without a resonant
head, as the air hasn’t got
anything to reflect off. Similarly
anything smaller than three
inches won’t make much of a
difference at all. You also need
to think about where you cut the
hole: if it’s completely central,
it will sound slightly too dead
when mic’d, so it’s better to be
somewhere between the centre
and the edge, and in a position
where a small mic stand can
be easily placed to capture the
sound of the drum well.
Some drummers prefer
having a head without
a hole in, and to mike
it up they will either
place a mic in front
of the head or
they will have an
internal miking
system. This will
often also depend
upon the style
of music you
play – you will see
most jazz players
without a hole cut
as it creates a more of
a boom effect, whereas
rock players are happy
to trade this for added
projection.
Next time we’ll take a
look at options regarding
tuning our resonant head
to get the fullest and
fattest sound.
 TUITION

“Don’t forget, this is really only the cover of the level

book. It’s down to your imagination as to how
this material gets employed.” Intermediate
/Advanced
Pete Lockett

Ratamadiddles – Part IV
Enhancing more classic rudiments with the ratamadiddle treatment

S
o far we have looked at the embellishment of basic paradiddles
by adding 32nd-note doubles for some of the single hits in the
rudiment. It is a great way to develop some different sounding
symmetrical stickings, a fantastic work out or warm-up for the hands, and
also an immense springboard to orchestrate interesting and articulate
patterns around the kit.
We will continue on with a further extension and move on to the triple
paradiddle: RLRL RLRR LRLR LRLL.

Example 1 Example 2
Here it is without any double and a couple of added accents to give it a For example two we add a 32nd-note double after each of the accents.
more interesting shape. The accents are the same as in example one.

Example 3 Example 4
We will continue to keep everything symmetrical, having accents on the Next up we add a few more accents and doubles into the mix.
first, sixth, eighth and 14th notes and the doubles on the second, fourth,
ninth and 12th notes.

There is so much more potential for interesting accenting patterns with these longer rudiments. Also because they are symmetrical and the opposite in the
second half, they are great for coming up with two-part melodies by orchestrating out to the floor tom and small tom.

Example 5
Now we will change our sticking a little to make things even more interesting. Here we will have the first half of the triple paradiddle followed by a single para-
diddle leading with the left. This leaves us leading with the left hand in the second half, which becomes the opposite of the first. This is what it looks like with a
few accents thrown in.

Example 6
Now time to integrate some doubles. This becomes a really challenging pattern at a high speed.

Don’t forget, this is really only the cover of the book. It’s down to your imagination as to how this material gets employed – grooves between the hi-hat and
snare, fills and patterns out to the toms from the snare drum, or whatever else you want to do to explore the endless possibilities of this technique. Even if
you don’t do that, it remains an excellent warm-up.

April 2014 DRUMMER 81

081 Tuition Lockett_Rev4_NR_NC.indd 81 11/03/2014 18:00

 TUITION

“A favourite of prog and math-based level

bands, I hope this gives you inspiration
to wrestle it to the ground.” Advanced

Steve Rooney

Sticking To Time – Part III PRESS HERE

FOR EXTRA
Sticking patterns to get you grooving in nine DIGITAL CONTENT

Greetings! This month we are dealing with the odd shaped and occasionally cumbersome beast 9/8 time. A favourite of prog and math-based bands, I
hope this gives you inspiration to wrestle it to the ground.

Example 1 Example 2
Okay, this month’s essential rudiments – the triple paradiddle (practise Now we are going to use the triple paradiddle followed by one inverted
accenting the lead hand singles) and the inverted flam tap. flam tap around the kit as a drum fill. I have included a basic 9/8 groove to
phrase it with.

Example 3
Although the sticking stands up as a phrase on its own, it sounds great as a polyrhythm when played over a simple 4/4 ostinato. Note the lead hand
swaps on each alternate bar, great for swapping the phrasing.

Example 4
If you want to give the lead hand a good workout you can play
a very similar phrase without the lead hand swapping every bar.
Personally, this altered my perception of voicing the accents. Try
with or without the mid-phrase single flam, as it suits you.

Example 5
Example four also works really well as a polyrhythm over a simple ostinato. I only scratched the surface with the pedal parts, with a bit of practice there
are plenty more possibilities for the feet.

As with any odd shaped or polyrhythmic figures, the key to learning them is to understand the numbers involved and learn to ‘hear’ them as a melody or phrase.

Steve has been playing drums for 26 years, during which time he has recorded at top studios, toured internationally
and taught extensively. He became a well-known hard rock/metal player through the 2000s touring with such
bands as Kill II This, Profane and Happylife. Now a versatile pop/rock drummer, tutor and session player, Steve
has worked with artists such as Suggs, Lee Thompson, Sharon D Clarke, Bishi and Meredith Brooks, and on
projects featuring top producers like Nile Rodgers, Andrew McPherson, Mike Fraser, Mike Pelanconi and
Cameron Craig. He is proud to use and endorse Yamaha drums and Remo drumheads.

82 DRUMMER April 2014

082 Tuition Rooney_Rev4_NR_NC.indd 82 18/03/2014 10:57

083.indd 83 11/03/2014 17:21
TUITION

“When I listen to drum’n’bass tracks, I always like the

ones that evolve from a simplistic drum pattern into level
ones that develop along with the music.”
Intermediate

Jungle Drummer

Enhanced Steppa Grooves

Develop your drum’n’bass playing with these progressive two-bar beats

F
ollowing on from last issue, we’re going to focus on enhancing the
beats we looked at last time by adding to or changing around the
patterns. When I listen to drum’n’bass tracks, I always like the ones
that evolve from a simplistic drum pattern into ones that develop along
with the music. That is also what I prefer to see when I watch drummers:
my favourite players are the ones who can lay solid foundations before
building on and adding to the beats. With this month’s grooves, try things
in stages and isolate the parts so you can achieve consistency with the
hi-hat, kick and snare.
When you first play through these examples, focus on the hi-hat,
clenching it tightly shut. Then focus on the snare, listening to the ghost
notes to hear their consistency when played against the hi-hat. Then
play the kick pattern, first on its own against the hi-hat to make sure you
really nail the doubles before including the snare back into the mix. Once
you have everything sounding tight, work at getting a precise sound at
80BPM before building up the tempo until you reach the target speed of
170BPM plus. Breaking down the parts and playing them slowly will mean
that you can hear any weaknesses within the patterns. Remember that all
electronic music has consistency regarding timing and sound, which is
what makes these beats slightly challenging to replicate properly.
With all these examples, play with feel and swing, following the tempo
advice above, and you should have some great-sounding beats.

84 DRUMMER April 2014

 TUITION

“Experiment to build strength and clarity into level

your playing, which will improve the sound Beginner/
produced as we move forward.” Intermediate
Nick Carter

Slick Sixes – Part II

Sticking ideas to increase your sixes

L
ast time, we started taking a look at sextuplets – what they are and
how we play them in terms of their note values. This time, we’re
going to move forward, looking at sticking variations using some
basic and (hopefully) familiar rudiments played as sextuplets. We’ll also
be including our feet into the patterns, not only to add an element of
co-ordination to what we’re looking at, but also help us to improve our
timing for our groups of six. While some of these examples may seem
quite obvious, it’s important to make sure you’re completely comfortable
with them as when we move on, these are going to crop up in patterns
and fills throughout this series.

Examples 1 and 2
Here we have a brief reminder of the sextuplet pattern and fill we concluded
with in the last issue. You should try moving smoothly and evenly between
the two, including increasing how many bars of the pattern you play before
moving to the fill.

Example 3
Here, we take the simple single-stroke sticking from our fill played only on snare
drum, but with our feet added in, playing a walking pattern on the quarter notes
underneath the sextuplets played in the hands.

Example 4
Now, we start to change the sticking, beginning with changing our single strokes
for doubles. Although this may seem tricky to begin with, in relation to our foot
pattern it’s relatively simple as our right hand falls with our right foot (beats one
and three), while our left hand and foot play together on beats two and four.

Example 5
Next, we play double paradiddles with our hands, or para-paradiddles if you
prefer, which again makes the hands and feet tie in as it does when playing
double strokes.

Example 6
Now, we move to playing paradiddle-diddles, which switches how our hands
fall with our feet to make the co-ordination between hands and feet slightly
more challenging.

Example 7
Our final sticking variation is a six-stroke roll, which, as with simple single strokes
and the paradiddle-diddle, gives us slightly more of a challenge in terms of co-
ordinating our hands and feet.

Example 8
Although all of the examples so far have been written using a simple walking
foot pattern, you should also try playing these sticking patterns with different
foot patterns. For example, you could try playing against just kick drum on all
four beats, hi-hat on all four beats, or any combination you come up with. Here,
we increase the amount of notes we play with our feet, and for more variation
play doubles underneath our sextuplets.

These are just a handful of examples of what you can do to strengthen your sextuplets, and only scratch the surface of what you can practise. As always,
experiment for yourself to build strength and clarity into your playing, which will improve the sound produced as we move forward next time with ways
we can use sextuplets in grooves.

April 2014 DRUMMER 85

085 Carter_rev4CK_NC.indd 85 11/03/2014 18:00

TUITION

“It is important to realise that the artistic value of what

level
you play lies on the musicality you’ll develop, mainly
by listening to great musicians and developing your Beginner/
repertoire alongside these technical exercises.” Intermediate

Philippe Castermane

Jazz Time – Part III

Increase your musical vocabulary with the eighth-note alphabet

F
ollowing on from last month, I’ll now introduce the eighth-note triplet
alphabet. You will notice that some of the combinations practised last
month appear here again, but for clarity, I’ve chosen to feature them all.
The aim is to get you to practise and explore all possible permutations
within an eighth-note triplet subdivision while maintaining a steady swing
pattern. Such practice routines will give you the tools and the ability to play
a wide variety of comping options. As with any other technical device, you
should practise these combinations until you develop automatisms, therefore
allowing you to focus fully on the musical aspect when performing without
being distracted by the mechanical aspect. It is important to realise that the
artistic value of what you play lies on the musicality you’ll develop, mainly by
listening to great musicians and developing your repertoire alongside these
technical exercises.
Although I am focusing on co-ordination, I cannot stress enough that the
most important aspect here is your ability to swing. My suggestion is therefore
to alternate two bars of swing and two bars of your chosen exercise, ensuring
the quality of the swing doesn’t falter at any time. If you find it difficult to start
with to play a full bar of comping, feel free to break each exercise down into
smaller chunks (starting for instance with the first beat only, then adding one
extra beat at a time).

Example 1
Practise each of these seven variations at a comfortable (read: slow) tempo. Although written on the snare line, they can also be played with the bass drum.

Example 2
Once comfortable with each of the seven combinations, practise them sequentially following this template: two bars of swing, two bars of comping.

Example 3
As an example, I have transcribed exercise five. Although I didn’t give any specific guidelines regarding dynamic marks, I’d suggest playing the snare fairly gently. The
same would apply to the bass drum.

After a while, you can try and play example two (four bar loop) to the tracks Needn’t’). Feel free to choose other jazz standards, as long as you keep track
I suggested in the last two tutorials (‘Freddie Freeloader’ and ‘Well You of the form throughout. More comping ideas to come next month!

Tech Music School (TMS) London is an established market leader in popular music education, delivering professional, real-world
training for performers, producers, songwriters and business entrepreneurs. With 30 years’ experience in popular music education, TMS
prides itself on its high-quality teaching, which supports the development of technically accomplished and versatile graduates who
are equipped for a sustainable career in the UK’s most dynamic industry. Recent TMS graduates are working with: Adele, One Direction,
Jessie J, Basement Jaxx and more.

86 DRUMMER April 2014

 TUITION

“The kick ostinato should be pretty low level

down in the mix – it shouldn’t detract from
the soloing happening in the hands.” Intermediate
/Advanced
Jamie Smale

Tasty Timbales – Part II PRESS HERE

FOR EXTRA
Solo ideas to enhance your Latin-tinged performance DIGITAL CONTENT

I
hope you had fun nailing last issue’s Cuban conundrums. In this
issue, I will apply some of the rhythms we looked at last time to a
four-bar solo in Ralph Salmins’ Trinity College London Grade 8 piece
‘Brazil Overture’. From bar 86, we have a four-bar samba solo, which
will take time and practice to build up to full speed, so start slowly,
co-ordinate precisely and make every single beat count. Check out the
following two-bar solo ideas.
Make sure that the kick ostinato is crisp but not overpowering or the
solo will sound clumsy. The stickings are given for right-handed players,
so reverse if you’re leading with the left.

QUICK DEFINITION: Ostinato – a musical phrase or rhythm that is repeated persistently.

Example 1
This example brings out the cascara rhythm through
accents around the kit. Play the non-accented notes as
ghost notes and really let the accents sing. Play all the
accents with the right hand and the snare ghost notes
with the left.

Example 2
The right hand stays on the shell of the floor tom
throughout. Play the shell with the shoulder of the stick,
either by letting the stick rebound once it has struck or
playing the beats as push strokes: keep the stick against
the shell once it has struck. These two approaches create
a very different timbre. The left hand brings out the 3/2
clave around the drums.

Example 3
Here, the right hand plays an ostinato between the
ride cymbal and middle tom. With the left hand,
experiment with hitting the rim with different parts
of the stick. If you play the rim towards the tip end of
the stick you will get a brighter, less offensive tone,
whereas if you play the rim clicks with the middle
of the stick, you will get a much more resonant but
slightly piercing ‘crack’.

Example 4
The right hand plays the same ride/middle tom
ostinato as in example three. The left hand moves
around the kit with syncopated accents.

In each of the examples, really bring out the accents. Aim for a punchy and consistent attack on the drums. The kick ostinato should be pretty low down in
the mix – it shouldn’t detract from the soloing happening in the hands.

Trinity College London is a leading external examinations board offering qualifications for a range of instruments including
Drum Kit. Our Drum Kit exams (Grades 1-8) are designed to develop accomplished drum kit players, both musically and
stylistically. The syllabus explores a wealth of different styles through a range of specially commissioned repertoire by leading
drum kit performers and educators, available in a series of Drum Kit repertoire books with playalong CDs.
A brand new range of qualifications and song books for Rock & Pop Drums are also available now, with songs by a range of artists including Elbow, Green Day
and the Rolling Stones. www.trinitycollege.co.uk

April 2014 DRUMMER 87

087 Tuition Smale_Rev4CK_NC.indd 87 18/03/2014 10:57

TUITION

“Listen to Horacio Hernandez’s ability to make level

the clave sound elastic – this is one of the ways
to get close!” Intermediate
/Advanced
James Hester

Clave Co-ordination – Part V

Develop your independence with these Latin-based patterns

N
ow that you’ve developed some basic co-ordination in sixteenth
notes between the hands and left foot with last month’s examples,
we’re going to continue the process, but with eighth-note triplets.
Being able to feel the clave in triplets is key to increasing your vocabulary
and gives you the flexibility to ‘hear’ the clave in many different ways. Listen
to Horacio Hernandez’s ability to make the clave sound elastic – this is one
of the ways to get close. Here, we will focus on the basic stickings and left
foot co-ordination first.

Example 1
This first example shows the relationship in time
between feeling the clave (in this case a 3:2 rhumba
clave) in both sixteenth notes and eighth-note triplets.
There’s not a huge amount of difference between the
two in time and space. If feeling the clave in triplets
is new to you, perhaps begin by looking at the Afro-
Cuban 6/8 rhythms to help you hear and feel it.
Example 2
Here’s the first example in triplets – while single
strokes are usually the simplest pattern to play, as
we’re in an odd grouping of three notes per pulse,
the sticking alternates and begins on the left hand
on beats two and four.

Example 3
This is where things begin to become interesting
in terms of creating some exciting rhythms – the
alternating two-beat sticking creates a polyrhythmic
(3 over 2) feel against the click – once you have spent
enough time on the repetition stage of practice, then
you will begin to hear and feel this secondary pulse.
Example 4
This three-note sticking fits the subdivision perfectly,
but there’s some tricky co-ordination happening
between the two left-hand stickings – this may be one
of the easier stickings, but take your time to make sure
your playing is accurate.

Example 5
The paradiddle sticking is the trickiest of the set this
month – it takes two bars to resolve and creates a 3
over 4 polyrhythmic feel. There’s a huge amount of
scope within this sticking, so take your time – it will
take a while to feel completely comfortable with
this, but it will pay dividends when you begin to
orchestrate and add dynamics.

NEXT MONTH
We will be switching between subdivisions but also adding in the kick drum too, so make sure you have these stickings well practised in
preparation. If you can play each one individually (including last month’s sixteenth-note ideas), try playing each one in turn without stopping.

Check out www.jameshester.co.uk for a video lesson of this, along with plenty of other lessons!

“The guys at BIMM know their music business
because they ARE the music business! Who
better to pass on knowledge and experience? I
would have been there like a shot all those years
ago if it had been around!” Richard Jupp (Elbow)
BIMM Summer schools saw some amazing
end of week performances and the drummers
had some extra special guest treats in the
form of Jason Bowld (Killing Joke) and Ian
Mathews (Kasabian) who also double drummed
‘Clubfoot’ with the students. We’d also like to
extend our congratulations to BIMM Graduate
Tom Derryman who’s now writing for this very
magazine and creating quite a ripple in the
hybrid electronic/acoustic drum world!
Full-time drum courses include the First
Diploma in Modern Music, Artist Development
Diploma, Foundation Degree, BA Hons Degree.
BIMM also offer other courses including the
Entrepreneur’s Diploma in Music Business, Event
Management and Music Business BA Hons
Degrees and the Postgraduate Certificate in
Further and Higher Music Education.
Call 08442 646666 or check out their website
www.bimm.co.uk for Manchester, Bristol, Dublin
and Brighton open days. Follow them on Twitter
and Facebook.

88 DRUMMER April 2014

089.indd 89 11/03/2014 16:21
 TUITION

“You should now experiment with some level
ghost notes and accents on the snare Beginner/
drum and create your own groove.” Intermediate
Steve Timms

Kick And Snare Workout – Part II

Co-ordinated exercises to enhance your grooves

I
n part two of this study we are going to use three basic rudiments notes with the kick and snare playing sixteenths. In examples five to eight
played between the kick and snare drum while keeping a steady pulse the hi-hat is playing the quarter notes while the kick and snare are playing
on the hi-hat. In examples one to four, the hi-hat is playing eighth eighth-note triplets.

Example 1 Example 2
We begin with double strokes being played between the bass and snare Here we have a single paradiddle being played between the kick and
drum with the hi-hat playing eighth notes. snare with the hi-hat once again playing the eighth notes.

Example 3 & 4
Here we have two examples of how you could possibly use a combination of double strokes and a single paradiddle. You should now experiment with
some ghost notes and accents on the snare drum and create your own groove.

Example 5 Example 6
In examples five to eight we are now playing quarter notes on the hi-hat The kick and snare are now playing a double paradiddle.
and eighth-note triplets between the kick and snare, in this example
played as double strokes.

Examples 7 & 8
Here we have two ideas of how you could use a combination of double strokes and double paradiddles.

In next month’s issue we will be using these exercises to create some extremely funky grooves. If you have any questions or comments you can
contact me at info@back2thebeat.co.uk

Our aim at the Back 2 the Beat Drum Academies is to provide people of all ages and abilities the opportunity to develop their musical
skills and explore their own playing potential. During the course each student will participate in practical classes where they will cover
drum techniques, rudiments, co-ordination, drum notation and reading. They will also participate in a selection of rhythm section
workshops where they will have the opportunity to play alongside other musicians. Each student will be offered the chance to study for
the Trinity Guildhall drum kit exams up to a Grade 8. These classes are run by an experienced team of drum tutors, dedicated to providing
a top class education for drummers and percussionists. For more info, please visit: www.back2thebeat.co.uk

90 DRUMMER April 2014

090 Tuition Timms_Rev3_NC_NR.indd 90 12/03/2014 11:20

091.indd 91 11/03/2014 11:52
 FEATURE

A Problem Shared…
Our resident drum-guru Martin Ranscombe answers Press here
for extra
your questions. This month: cymbal choices... digital content

This month we have an e-mail from reader John Sheehan who has a very expansive question regarding cymbals...

To see Martin’s full video answer,

download our digital issue available
from Apple Newsstand.

Share your problems with

us!
Do you get nervous before you play?
Are you struggling to move around your
kit? Do you feel tension in your arms as
you sit at the kit? Send your questions
through to nickc@blazepublishing.co.uk
marked ‘A problem shared...’ and we’ll ask
Martin for his expert advice.

“I’ve been playing for five years and I feel I should progress from my basic kit to a better
quality and sounding kit. The problem is choosing cymbals, as I don’t want ones that don’t suit
what I’m playing. I’m not really sure what I need. I play a lot of genres, from The Police, to Eric
Clapton and to Temper Trap, and I want something quite versatile that covers jazz and light
music, yet handles rock. I’ve been looking at kits in Drummer magazine and reviews online,
but I just don’t know what would fit. I’d like something at Zildijan A/K or Sabian AAX level of
price and quality. If you can help I’d appreciate it greatly.”

Martin Ranscombe is a professional

drummer and highly regarded educator,
clinician and motivational speaker. He has
a refreshing – some might say unorthodox
– approach to drumming education
and provides tutoring and mentoring
to a growing list of UK and international
students. He has conducted countless
workshops and clinics – both in the UK and
Europe – on playing techniques and tuning.
If you feel you can benefit from
Martin’s insight into technique or have
any concerns about physical issues
relating to playing the drums, Martin
offers assessment sessions and tailored
programs, with a strong emphasis on injury
prevention and recovery.
Thanks for this one, John. It’s virtually impossible to answer… but I’ll try my best. Despite whatever anyone Martin proudly endorses Natal Drums,
tells you, you have to use your ears and your judgment when it comes to picking cymbals. What I can do Meinl Cymbals, Vater Sticks, Aquarian
is try and narrow down the choices. For most companies B20 bronze represents their professional level Heads, Ahead Armor Cases, ProGuard,
cymbals and for me B20 is the most musical type of bronze. If you’re going to go for versatility, chances are Groove Juice and Baskey
you’ll be narrowing it down to a medium weight cymbal. If it’s too heavy it may be bright and pingy – which If you would like to get in touch with
is suitable for rock, but not so much for jazz. For jazz you probably want something a little darker sounding, Martin, please visit his website at:
which means more mellow, and probably lighter and more washy. You have to understand the trade-offs, www.martinranscombe.com or
though. The heavier you go, the brighter the pitch, and the more volume you get. Equally, if you go thinner email: info@martinranscombe.com.
you’ll get a lower pitch generally – for the size this is – and probably more washy and less pingy.

92 DRUMMER April 2014

092 Problem shared_Rev3_NC_NR.indd 92 19/03/2014 10:20

 Custom Corner
CLASSIFIEDS
Advertising Index
Advertisers index
Active Music/ Ludwig..............................................................................15
Allianz.....................................................................................................15
BR Distribution........................................................................................65
Crush Drums............................................................................................71
Custom Skins...........................................................................................43
Daddario UK / Promark...........................................................................09
Daddario / Evans.....................................................................................59
DW Drums...............................................................................................17
EMD Remo..............................................................................................47
EMD Stagg..............................................................................................54
Gewa / Drumcraft....................................................................................99
Guru........................................................................................................51
093 Classifieds.indd 93
Tuition
Headstock.................................................................................21, 25 & 45
Korg Mapex...........................................................................................100
Korg Paiste..............................................................................................03
Korg / HXM..............................................................................................71
LDS 2014.................................................................................................89
Mike Dolbear...........................................................................................91
Murat Diril...............................................................................................83
Natal Drums............................................................................................13
Pearl........................................................................................................53
Pocket Mags............................................................................................43
SVM – Sakae...........................................................................................43
Thomann........................................................................................76 & 77
Westside – Sabian..................................................................................02
April 2014 DRUMMER 93
11/03/2014 16:39
 FEATURE

Healthy Mind,
Healthy Body
Warm-up stretches, part two: preventing injuries and RSI
Words: Neil Phillips

T
his is the second part of a range of
warm-up stretching exercises that are
incredibly useful before practice or
performance. Last time we began with the
upper body and we will conclude by looking
at some warm-ups for the wrists, forearms and
fingers. As already discussed, aiming for good
posture at the kit is essential, as well as breath
awareness to prevent the chronic holding of
tension. In order to develop a comfortably
upright position at the kit without slouching,
a yoga exercise program is useful to develop
upper body strength, as well as flexibility to

Place all your fingers on the side of a desk, press in and slowly
bring the tips of the fingers tips up…

This thumb stretch works by moving the thumb away from the …You can also stretch the fingers individually by pushing each
forefinger with the other hand one into the side of the desk for a few breaths

94 DRUMMER April 2014

094-095 HMHB_Rev4_NR_NC.indd 94 12/03/2014 11:23

 stretch out the contracted muscles of the
wrist, arm, shoulder, neck and upper back.
Remember for all of the exercises, maintain
deep, relaxed breathing – being mindful to
try to relax and release any tension on the
exhalation. Try closing your eyes once you have
the posture configured to really get an inner
sense of what is going on with the breath and
body while you stretch.
Stretching the wrists and
the forearms
Bring your palms together in front of your
chest in a prayer position. Relax your shoulders
and broaden your chest. Gently stretch the
heels of your palms down until they are
aligned with your wrists. If this can be done
without any discomfort, try moving the hands
over to the right and left, each time holding
the position for a few breaths. Be mindful of
the sensations in the forearms and wrists as
you breathe deeply and stretch.
Stretching the wrist
Make your hands into fists and place them
thumbs up on a table. Keeping the lower
supported and without moving it gently and
slowly stretch the fists to the right and the
left. Then lifting the hands off the table and
keeping the hands in fists, rotate in circles both
directions
Stretching your fingers
collectively
Place all of the tips of your fingers onto the
edge of a desk. Then press into the desk with
the fingers and try to slowly bring the tips of
the fingers to face up. Try this first with the
fingers together and then spread apart.
Stretching the fingers
individually
Place the index finger on the edge of your
desk, keeping your wrist straight. Gently push
into the desk and hold for a few breaths.
Repeat with all the fingers except the thumb.
Stretching the thumb
Place your right palm on the desk top with
your wrist straight. Relax all your fingers. With
your left hand slowly stretch the right thumb
away from the forefinger. Hold for a few
breaths and then release and do the
other hand.
Shaking out tension
Shake out your wrists and arms, letting them
dangle from your shoulders.
Release for shoulders
and neck
Inhale deeply and gently and slowly lift the
shoulders up toward the ears and as you
exhale release the shoulders and shoulder
blades down. Then repeat rotating the
shoulders forward and up on the inhalation
094-095 HMHB_Rev4_NR_NC.indd 95
and back and down on the exhalation. Repeat
three times each set.
Relax the eyes and breathe
Turn your head right and left, looking into the
far distance with your gaze. Close your eyes
and take some deep, slow breaths with your
belly soft.
Next time we will be looking at some basic
yoga postures to develop strength and
flexibility in the upper body to improve
posture at the drum kit.
Stretch the wrist by making a fist, supporting
the lower arm, and moving it gently from
side to side as in the pictures below
Neil Phillips is a yoga teacher and Ayurvedic
medicine consultant and educator. He has
taught yoga and Ayurvedic principles in
health and yoga centres throughout London
as well as on yoga retreats and teacher
trainings in the UK and abroad.
Derived from the same roots as yoga,
Ayurveda translated as the ‘science of
life’ has proven to be hugely effective in
combating many modern ailments. It is a
complete system of healthcare, prevention
and treatment, using dietary and lifestyle
adjustments, yoga, herbs and therapeutic
treatments to bring balance and longevity.
Neil utilises both yoga and Ayurveda in
his consultations as tools toward self-
empowerment, health maintenance and
personal transformation.
For Ayurvedic consultations, one-to-one
sessions and yoga classes contact:
Email: pranaveda@outlook.com
Website: www.pranaveda.co.uk
DISCLAIMER
The contents of this article are not intended
to be a substitute for professional medical
advice, diagnosis, or treatment. Always seek
the advice of your doctor or other qualified
health provider with any questions you may
have regarding a medical condition. Never
disregard professional medical advice or
delay in seeking it because of something
you have read. If you think you may have a
medical emergency, call your doctor or 999
immediately.
April 2014 DRUMMER 95
12/03/2014 11:24
FEATURE

Re-sampling options to create interesting and

useful loops and samples
Words: Tom Derryman

T
his month, we have the second part of our
sample-editing topic. To briefly recap, last
month, we looked at how we can move the
playback start and end points, delete unwanted
regions, change the pitch and normalise our
samples. This month, we’re exploring how we
can chop, merge and reverse our sounds. Using a
Roland SPDS-X, you can find the chop and merge
options inside the sampling screen, where you
must select the source sound/sounds that you
want to edit and then scroll through the options.
The reverse function is accessed through the ‘kit An original waveform
pad’ screen, where you must press the ‘quick menu’
button once you have the correct sample selected.
Remember not to overwrite any of our original
samples while we’re experimenting with these
options, or else you’ll be stuck with the outcome,
whether you like it or not. Now to get started…

DIVIDING A WAVE
The concept of dividing a wave is pretty self-
explanatory, but, briefly, it means that we can
chop up our samples into as many new ones A divided waveform: creating two new samples from the original waveform
as we like. After choosing our source sample,
the next step is to make sure that we have a kit
patch selected where our newly cut samples record your own voice using a microphone and MERGING
will be assigned. I recommend you choose a then cut up each word or phrase that you say The concept of merging samples is essentially
blank kit patch while resampling in this way – and then play them back on the fly, making new the exact opposite of chopping samples: while
this eliminates any complications and risks of sentences. Why not cut up a track into loops chopping allows us to divide one sample into many
overwriting your existing kit setups. Once you’re and sections and then try jamming along while new samples, with merging we can join samples
ready to go, simply hit the first pad you want improvising with the arrangement? Experiment together. The process and approach are similar,
to record onto and the resampling process will and see what ideas of your own you can come except you must obviously choose two source
begin. As you hit each different pad on the kit, up with. samples to begin the process rather than one. To
the sample that’s playing gets cut at that exact
point and the audio gets recorded across the
different pads as you choose. The moment you
RESAMPLING
When using the SPDS-X, the ‘chop’ and ‘merge’ functions are referred to as ‘resampling’ options. This
hit a pad that has already had a sample recorded
term is used to describe the process of recording an existing sample back into the sampler to create a
onto it, the resampling process is stopped and
new sample. We generally resample when we are processing the source signal in some way, so the new
you can then visually and audibly preview what
audio file is different from the original, hence the ‘chop’ and ‘merge’ functions being included in this
you have achieved. Obviously, you can go through
category.
this process over and over again until you get
the exact cuts that you want. Once you’re done,
you can save your new samples into your sample
RECAP
Truncate
library and then they are ready for use.
This function allows us to delete unwanted regions of our sample permanently. Check last month’s
Here are a few examples of how you could use
article for more info.
this process creatively and put it to some practice:

96 DRUMMER April
December
2014 2013
start the resampling process, you simply choose
the pad you wish to record onto and then press
start. Once the two samples have been merged,
the sampling process will end and the waveform
created will be presented visually on the screen for
you to preview before you save the sample to your
library of sounds.
To get the most out of this function, you really
need to think about what you’re trying to achieve
Two original waveforms
A merged waveform: by merging the two original waveforms we can create a new sample
REVERSING
The third and final editing option is the reverse
function. Again, the name is pretty self-
explanatory – this allows us to play back our
samples in reverse. Once you have selected the
wave reverse option, chosen your sample and
selected the save destination you’re ready to go.
Creatively, this function can lead to lots of useable
and interesting ideas. For example, try reversing
An original kick drum sample
A reversed kick drum sample
first, and in many cases you may want to truncate
your source samples so you get the exact result
you’re after. Creatively, this process opens up many
options: you could merge two guitar riffs together
to create one long loop to play over or merge a
sample of some dialogue (maybe your own voice)
onto the front of some atmospherics for an intro
to your band’s live show. The options really are
endless, so think of some ideas and try them out.
a single hit crash cymbal sample and you’ll get
a really nice sounding sweeping crescendo that
could work perfectly to create some suspense
leading into a chorus or mid-section of a track.
Or reverse a snare or kick drum sample and you’ll
get a sweeping whip-like sound leading up to
the point of impact. Have a go at playing with
some ideas and see what interesting and useable
sounds you can create in the process.
Photo: Dan Prettejohn
Tom Derryman is a professional drummer
and producer having recently graduated
from BIMM Bristol as one of the most
successful students in his year. Throughout
his time studying, he has developed his
own unique approach to playing drums,
utilising electronic additions to acoustic
drum kit, which allow him to recreate
digitally produced beats live. He is currently
in communication with a number of
underground dance labels regarding
‘Breakah’, his own forthcoming live bass
music project. Tom proudly endorses
Roland UK and if you find any of the
information in this column of particular
interest and you would like to communicate
directly with Tom, feel free to send him an
email, check out his website or follow him
on Twitter.
Website: tomderrymandrums.com
Email: tom@tomderrymandrums.com
Twitter: @tderryman
CHECK OUT WHAT TO EXPECT
FROM HIS FORTHCOMING
PROJECTS AT:
www.soundcloud.com/breakah
If you have missed any of the previous
articles in the series, visit Tom’s website:
www.tomderrymandrums.com where you
can read past installments.
Over the last two months, we’ve been looking
at all the basic sample editing functions that
our drum samplers offer. Over the next few
issues, we’ll be moving on to the new topic
of effects. We’ll be exploring all the basic
FX we have available, understanding what
they technically do to the audio signal and
finally how we can use them to enhance our
performances. Have fun experimenting with
what’s been covered in this lesson and I’ll
catch you all next month.
December 2013 DRUMMER 97
April 2014
THE FINAL WORD...
Drummer asks the burning questions to get the answers you need to know. This
month on the hot stool, One Direction sticksman Josh Devine gives us the lowdown
on rickety racks, secret rituals and competitive dancing...
WHAT HAVE YOUR CAREER HIGHLIGHTS BEEN
SO FAR?
Playing a sold out Madison Square Garden,or being
on the big screen in a movie!
WHAT ARE YOU LISTENING TO AT THE MOMENT?
Jay Rock featuring Kendrick Lamar – ‘Hood Gone
Love It’
WHAT’S THE MOST INSPIRATIONAL ALBUM YOU
OWN?
Toto’s Tambu. Musicianship at its best.
LAST GIG YOU ATTENDED?
I saw Ellie Goulding perform not too long ago. She’s
insanely good.
FAVOURITE DRUM GROOVE?
The half-time shuffle. More specifically the Rosanna
shuffle by Jeff Porcaro
ANY PARTICULAR SONG YOU WISH YOU HAD
PLAYED ON?
‘Seven Days’ by Sting. Love it!
FAVOURITE CURRENT DRUMMER?
Really diggin’ Aaron Spears at the moment – he’s a
killer player and killer dude.
FAVOURITE TOUR BUS DVD?
We recently went through a zombie film boxset and
all of the Saw films.
MOST EMBARRASSING ON STAGE INCIDENT?
Half my rack snapped and the whole left side of my
kit fell off the riser in an arena in Perth, Australia. I
saw my cousin’s face turn to a look of shock a few
rows back and I was thinking, ‘Why has he got
his hands on his head?’ Then I saw almost in slow
motion the whole left-hand side just fall. Nothing
else was damaged though, which was good. My
drum tech Fred had to sit next to me on the floor
and hold the hi-hat mic while I finished the last
three songs as it had been attached to the rack.
Fun times.
LIVE OR STUDIO?
Hmm, hard one but I love playing live. I definitely
like having an audience.
FAVOURITE DRUM DVD?
I don’t actually own very many drum DVDs. The
drummer in my dad’s old band gave me a Steve
Gadd VHS when I was five, so I think that.
98 DRUMMER April 2014
Image: Tina K
FAVOURITE WARM-UP TECHNIQUE? performance to a backing track of loads of songs.
Practice pad and stretches always help. We have a The look on their faces was priceless. It even made
pre-show ritual as well that we sometimes do, but it into the movie.
it’s a secret.
FAVOURITE BIT OF DRUM GEAR?
CURRENT WORKING PROJECT? At the moment I’m loving the gong drum – such
Still touring with One Direction, but been doing a a deep sound, but not as tight as a kick drum. It’s
lot of writing and recording for other projects and become a huge part of my sound now.
artists in the UK and over in the States.
ANY HOBBIES/ HOW DO YOU RELAX?
DO YOU HAVE A HOLE IN THE FRONT OF YOUR I hit the gym a lot, play sports, box, drive, drink
BASS DRUM HEAD? coffee, watch useless videos on Youtube…
Yes! I have one at the bottom right just under the anything that keeps my brain from sitting still for
band’s logo. too long. I like to keep active!
FIRST EVER POSTER ON YOUR WALL? FAVOURITE POST-GIG TIPPLE?
FHM’s top 100 models. Jack Daniels.
WHO WOULD YOU LIKE MOST TO PLAY WITH? PREFERRED FOOTWEAR FOR DRUMMING?
Justin Timberlake – his band are so on point! Toto Surprisingly it does make a huge difference. I prefer
too, though – it’s a toss up between the two. playing in some Adidas Hi Tops.
BEST THING ABOUT BEING ON TOUR?
Experiencing the world and playing in front of
millions of people!
WORST THING ABOUT BEING ON TOUR?
Missing friends, family, loved ones and my
own bed!
FAVOURITE SPORT AND TEAM?
Football and Manchester United. Also loving the
UFC and cage fighting…
FAVOURITE POST-GIG MUNCHIES?
Last tour was sushi – I was trying to be healthy.
FACEBOOK OR TWITTER?
Twitter – check me out:
@Joshdevinedrums!
VINYL/CD OR IPOD?
Sorry to all those music snobs
and hipsters that like everything
vintage and all that, but has to be
iPod – you can’t hook a vinyl player
in your car with ease can you?
FUNNIEST EVER TOUR MOMENT?
There’s so many, I cant really pick
one in specific, but the musicians
and myself once challenged the One
Direction boys to a dance off and we
had secretly been rehearsing a huge
099.indd 99 11/03/2014 09:18
100.indd 100 11/03/2014 09:19