Behind The Kit is great podcast talking with professional drummers about their journeys in music. I was thrilled to be a guest, and we discussed lots of topics related to drumming, composing, recording, technology, and the business of music.
Roswell Pro Audio has released a superb mini condenser microphone, the Mini K47, that sounds stellar and is surprisingly affordable. I was able to get a set of them in my recording studio and put together this percussion piece to test out the mics. I recorded only with the Mini K47s with no eq, compression, or processing.
The 5 parts (drum set, orchestral bass drum, frame drum, rebar sticks, and a frond) were all performed live and the the video was edited by the Roswell Pro Audio team.
I had the good fortune to play orchestral and tribal percussion on the score of Krampus which is out in theaters now. Wonderfully scary and intense music by composer Douglas Pipes. To my vinyl head friends, the soundtrack is available on vinyl.
Found some 2006 footage of a NI Vokator ‘drums processed by vocoder’ experiment. Tonight re-assigned midi to Waves Morphoder and this was the result. Groove is 11/8 or 4/4 + 3/8. I wish they would bring back Vokator.
In layman’s terms, these are some pretty weird sounding drums.
While setting up for a drumming session, and a bit under the weather from allergies, this rhythm appeared. It felt odd (as in odd time) while playing it, but, it turns out it is a syncopated 2 bar pattern in 4/4 time.
The video starts on the ‘one’ and the snare beats land on “2”, “4+” (first measure), and “3” (of the second bar). Then the next day, I started hearing the snares on “1+”, “4”, and “2+”. However it is felt, it really is a 4/4 pattern. My composer friend Eric Goetz hears the fist snare on “1”. Perhaps you can decide where the “one” is.
This rhythm is currently under investigation, and I’ll post some final thoughts in the future. For some reason, I keep thinking that Jon Hassell, had some unconscious influence on this.
After the Experimental Composer/Percussion Workshopamong the massive amounts of drums and percussion, I found a beautiful hang drum sitting there looking lonely. I picked it up, started playing, and some magical sounds came out. I had always wanted to play one, and now I must get a few. A wonderful instrument.
Recorded in light challenged conditions with an iPhone 5.
An experiment replacing the snare with a 14″ floor tom, an octoban played with the left foot, and no proper high hat. Featuring FMP percussion and Istanbul Agop cymbals. I often get inspired by different setups, mixing things up a bit, and seeing what happens. This groove appeared soon after setting up a 26″ Gothic Radius cymbal which compliments the toms. Technical note: This was the first time had used Michel Joly modded Oktava 219 mics on the toms.
A quiet groove that I can imagine someone like Jon Hassell or Brian Eno layering some soundscapes on top of.
A bit of a soundcheck before laying down some drums for the score of “Little Paradise”. Douglas Pipes was the composer, and he was looking for an open, dare I say ‘jazzy’ type drum sound for his music. There were no close mics used, just 2 room microphones and a mono overhead mic.
This is the kind of studio drumming that I enjoy a lot – oragnic, dynmaic, and real sounding tracks. You can hear some of the finished cues that were used in the film in this post.
Hand technique is like anything else. Use it or lose it.
Before jumping into composing or recording, most mornings I’ll run through some sticking exercises, rudimental drumming, coordination patterns, and sight reading to keep in shape.
The above video features improvised flams and flam taps, and few other rudimentary bits. Traditional flams, especially in drum lines, are usually played with a firm military execution. I prefer the Steve Gadd approach where he injects feel into rudimental based grooves and fills.
Here’s a soundcloud playlist featuring music from the film “Little Paradise” composed by my friend Douglas Pipes. I recorded some studio drumming and percussion for the soundtrack, and it was good fun recording with him. I of course love film music.
Douglas wanted a groovy live acoustic drum sound for the cues, and we talked a lot about capturing room sounds, making things sound natural, and dare I say the word…. jazzy.
The majority of the work was with an open sounding acoustic drum set played with brushes and some cymbal swells with mallets, On some of the cues I added some sparse percussion (tambourines, shakers, caxixi, and hand drums) which added some extra energy and aural flavors to the music. Good times!