Off Beat is proud to announce an online partnership with Around The Kit, a three-hour weekly Drum-Talk Radio show that features exclusive interviews with some of the biggest drummers. Visit their website and Facebook page for information on upcoming guests.
Read Exclusive Interviews written for Drumhead, Modern Drummer and Off Beat: Troy Luccketta – Steve Goold – Daniel Glass – Garrett Goodwin – Steve Smith – Dan Needham – Kelly Keagy – Scott Pellegrom – Brandon Scott – Mike “Woody” Emerson – Ben Barter – Rich Redmond – Sean Fuller – Jason Hartless – Robert Sweet – Keio Stroud – Tommy Taylor – Frankie Banali – Bobby Z – Danny Seraphine – Dino Sex-(Next up: David Abbruzzese)
Michael Lester is a friend of ours. He’s a fantastic drummer and an excellent drum teacher who primarily works with younger students. Michael uses FUNdamentals of Drumming for Kids as part of his study materials. Here is a video of one of his students playing with Michael’s band Big Daddy Caddy. Blayze is eight years-old and already knows how to lock in with a groove. If that isn’t validation of our program I don’t know what is. I am thankful for Michael using the DVD and book. If you are interested in lessons with Michael you can contact him at firstname.lastname@example.org. Here is a video of Blayze sitting in with the band.
I was very sorry to get an email this week announcing the closing of Rich Sticks. I have been a Rich Sticks artist for several years and they made the perfect signature stick that fit all of my needs. Fortunately I don’t break many sticks so I have plenty of unused pairs in my bag. I was very proud to be on the same artist roster as Bernard Purdie. The owners and operators, Joshua Mimms and William Fitzpatrick, did all they could to grow their company but it just didn’t work out the way they planned. Like so many small businesses it’s difficult to compete in today’s ever-changing market. The big three stick makers understandably have an advantage but never count out the little guys. Their product can be just as good and their artist relations can be better. I wish Joshua and William the best of luck in their future endeavors and I will continue to proudly display their former company’s logo on my bass drum.
Recently I had the pleasure, and privilege, to be interviewed by my close friend Rich Redmond. It was a lot of fun to be on the other side of the table so to speak…
RR: As my friend and co-author Michael Aubrecht has interviewed so many drummers, (me included) I thought it might be neat to interview him for a change. Michael took some time out of his busy blogging schedule to answer a few questions.
RR: Tell us why and how you started drumming.
MA: I started playing drums earlier than some and later than others. I began showing an interest in music in the 6th and 7th grade. That was when I started paying attention to bands and buying albums and cassettes. I had always liked music and I had a bunch of hit 45s, but I was never serious about it. My first album purchased was AC/DC’s Back in Black which is still one of my Top-3 albums of all-time. In the 7th grade I started showing an interest in the drums. Like many drummers I started banging on Tupperware and then moved up to a drum pad. My parents even bought me one of those Synsonic Drum machines.
Shortly thereafter I started taking lessons. I was all in and 100% devoted to it. I got my first drum kit in 8th grade. It was a beautiful Pearl Export kit and I still regret selling it years later. In school I started getting involved in the music programs that I would participate in until graduation. I played in the choir band, marching band, symphonic band, stage band and percussion ensemble. I was fortunate to have great teachers over the years and I still follow their guidance to this day. I also played in several garage bands. We did some gigs and battle of the bands. All of those guys went off to record CDs with their own groups. I’m the only one yet to be captured on a recording.
RR: Tell us about your drumming heroes.
MA: I can answer that easily because I was very focused on three “heroes” from specific genres. In the hair-metal world it was Frankie Banali. My first concert was Quiet Riot and I remember his immense black and white striped drum kit hovering on the stage. It was on their Condition Critical Tour and that song still remains a favorite of mine. Looking back, Frankie had (and has) a heavy hitting style similar to John Bonham. Years later I was very lucky to have interviewed Frankie for Off Beat.
In the pop world I was enamored by Bobby Z of Prince and The Revolution. His ability to combine electronics and acoustic drums in order to fulfill Prince’s vision was extraordinary. Purple Rain is one of my Top-3 albums of all-time and Bobby’s live performances of those songs still resonate with me. Like Frankie Banali, I was lucky to have interviewed Bobby Z for Off Beat.
My third hero in the pop-rock world is Jon Farris of INXS. His creative drum parts and groove within a song structure are second-to-none. INXS had a string of hits in the 80’s and 90’s and Jon’s contribution on the drums was a big part of that. His live performances captured on INXS’s Live Baby Live album show how a drummer can still jam while sitting within the structure of a song. I would say Jon is my #1 favorite.
RR: What music have you contributed to?
MA: I’ve been interested in composing electronic music and loops for quite some time. My friend, an accomplished musician, producer and film composer named Attila Domos has asked me on more than one occasion to provide him with drum parts. I really enjoy the flexibility he gives me and he has even fashioned songs around the drum parts that I’ve provided. Some of it is industrial and others are what I’d call “avante-guard.”
When I create these pieces I’m very much into layering. I like to add percussion behind the drum track. Sometimes I’ll start out with something simple like a ride pattern. Then I’ll add toms, and finally the snare. It’s a back-ward way of sorts but it seems to work for me. Attila is always creating music so I am grateful for the opportunities he’s given me to contribute. I also love sitting in and jamming with my friends from The Drowning. I played with the band’s founding members years ago and it’s been great to reconnect with them. Their CD Every Hour Wounds is amazing. I don’t have the free time to play as much as I’d like but when I do I love making music with friends.
RR: Tell our readers a little about our project.
MA: It’s been what…six years now? As you know my son Jackson showed a casual interest in playing my drums. Seeing an opportunity to pass on my interest I began looking for teaching aids in print and online. As Jackson was going on five at the time I was hoping to find something for his age group. I did not. In fact I was unable to find anything even close to a five year-old’s comprehension level. During my research I came upon a YouTube video of you giving a drum clinic. I think I remember that you were playing along to “She’s Country.”
At the time I had absolutely no idea who Rich Redmond was but the song was vaguely familiar. Seeing that you were an educator I decided to reach out. I sent you a short message that described my dilemma and asked if you were aware of any teaching tools for younger kids. You were not. During our conversation it came up that I was a writer. Ever the entrepreneur you saw an opportunity. The result was “FUNdamentals of Drumming for Kids.” Who knew that it would be published by Modern Drummer, win an award at NAMM, become an Amazon Best-Seller and now be in its third printing? Like you I am very proud of that project. Let’s do it again! [laughs]
RR: What gear do you play?
MA: I play a mix of gear spread between two drum sets. My primary kit is a PDP mahogany kit. It consists of an 18” bass drum, 12” rack tom, 14” floor tom and usually a 14×5 ½” snare that switches between wood and brass. It is wrapped in a pink oyster wrap that I helped to design. My second kit is a black sparkle Ludwig Breakbeats kit that consists of a 16” bass drum, 10” rack tom, 13” floor tom and a 14×5 ½ wooden snare. I also use a variety of electronics from time to time that consist of two Alesis Sample Pads and four ddrum Red Shot Triggers.
RR: What are you working on and where are you going?
MA: The Off Beat blog continues to grow. I average thousands of hits across twenty countries. My plan is to incorporate more live Facebook chats on the blog. I’m continuing to do exclusive interviews and the list is growing. I’ve done over 20 interviews to date. Names like Steve Smith and Danny Seraphine top the roster. Of course so do you! [laughs] Next up is David Abbruzzese. I hope to see our book reach its fourth printing. I’ve created training aids and a course syllabus for teaching the “FUNdamentals” way and we are getting good feedback.
I maintain our Facebook page and I will continue to do so. I’m hoping to find more time to practice. I’m not writing books or doing speaking engagements at the moment as my family takes my attention. Unfortunately I sacrificed a lot of time with them to pursue my projects and I’ve shifted my focus as it should be. I still contribute articles to an online and print publication. That allows me to keep my writing chops. Who knows? Maybe someday you and I will get around to publishing the follow-up to FUNdamentals of Drumming for Kids? Maybe we can do FUNdamentals of Drumming for Adults?
RR: What are the ways people can see your work and get in touch with you?
My blog is at: https://maubrecht.wordpress.com/
My website is at: www.pinstripepress.net
My email is: email@example.com
Every once in a while I get the chance to sit in and jam with my friends from The Drowning. Based in Pittsburgh, the band includes members who I played with back in high school. We had a few gigs and a battle of the bands. Other members went off to form their own bands and all of them have recorded CDs.
Beyond the sheer pleasure of playing with those guys I also love the fact that I get to play an original set of blue Ludwig Vistalites and an Acrolite snare drum. Introduced in 1972 this style of acrylic drums were produced by the Ludwig Drum Company. Vistalites were developed to be a synthetic alternative to wood shells. You may recall that John Bonham popularized them in “The Song Remains the Same.”
Vistalites were available in clear, green, red, amber, and yellow as well as the blue one I play. Blue and clear were the largest sellers. Beyond Bonham, the drums were popularized by other note-worthy drummers that played them. This included Karen Carpenter, Keith Moon, Nick Mason, Ron Bushy, Barriemore Barlow, Jay Osmond and Billy Cobham.
In addition to revealing the drummer playing behind the kit Vistalites also reflected the lights that shined upon them. The sound of the drums was also different. Many kits came with concert toms (toms without lug holes or a rim on the bottom of the shell) that provided a projected sound similar to Phil Collin’s signature sound.
According to Ludwig “While some acrylic shells have been criticized for their dry, dull tone, others have been raved about for years, such as the shells used by John Bonham. Many drummers, and musicians/recording engineers in general, have a preferred drum sound that they strive to attain when playing and recording, and while some wooden drums have seemed to dominate this recording field throughout recent decades, acrylic shells have still played a keystone role in numerous sought after recordings.”
As one who has played these drums I can account for their unique and powerful tone. They respond well and offer a sound different from any wood shelled kit that I’ve ever played. The Acrolite snare I play with it is also one-of-a-kind. Introduced in the 1960’s as a student model the drum caught the attention of professionals for its distinct and dry tone. It is capable of expressing the subtlety of ghost notes as well as the high-volume crack to hold its own in any setting. I personally like the attack of the drum.
If you ever have the opportunity to play a Vistalite kit or an Acrolite snare drum do it. It will be a unique experience and who knows? You may find yourself purchasing one of the re-issued ones.
One of my favorite places on earth, and probably yours too, is Walt Disney World. My family goes there every year one of our children graduates high school (two down-two to go). As a drummer, there are a lot of performers that catch your eye. There are the traditional Japanese and African drummers, as well as the Colonial Guard and holiday toy drummers. There is also your share of jazz, Dixieland, garbage can groups and rock bands. As one with both a drum set and drumline background, I’ve often fantasized about what it would be like to work at one of Disney’s four theme parks (Magic Kingdom, Epcot, Hollywood Studios and Animal Kingdom). I did some searching online. For those of you that are interested, here’s some advice:
Step one: Have the chops. Disney only accepts the most qualified players that can shred a variety of pieces within their respective genre. (I’d practice my ass off if I were you.)
Step two: Entertain. Beyond playing you must be able to perform. There is a big difference. You are there to put on a show. Whatever the theme is, live it. (Smile!)
Step three: Follow the rules. Disney is famous for making their employees stick to a strict rule system. You step out of line, you’re gone no matter how good you play. (Listen to Mickey.)
According to Disney Entertainment Casting:
“Many are surprised to learn that Disney is one of the largest live entertainment companies in the world. We produce thousands of special events around the world and entertain millions of Guests every year in our Theme Parks & Resorts. With such a huge scope of entertainment, there are countless ways to share your talent with our Disney Guests. From professional musical theater actors looking for their next adventure, to aspiring performers looking for a place to hone their talent and learn the business, we have a spot for just about everyone.”
Disney has an online Walt Disney Parks & Resorts Performer Toolkit that shows the audition calendar, requirements and opportunities. There is even a short Drum Audition Video to give you an idea of what to expect. Good luck. May your dreams come true!
You may recall a post from a couple years ago (read here) on Voivod’s drummer Michel “Away” Langevin. In addition to being an exceptional drummer he is also a gifted artist. Michel has created all of Voivod’s artwork, as well as the artwork for other progressive metal bands. His online portfolio reveals a unique style that is a cross between macabre and science fiction. Over the years Michel has traditionally illustrated and used computer 3D programs to create his images. He has published a book of his artwork titled Worlds Away – The Art of Michel Langevin. The book is difficult to find online but it will be back on Amazon as soon as they are available. According to Michel, he was heavily inspired by the magazine Heavy Metal. In an interview for the website Maximum Metal he talked about his influences. “It was more of a comic book style magazine,” he said. “ That’s where I take my sci-fi influence from but also a lot of movies interest me like Eraserhead, Blade Runner and Mad Max…those are movies that changed my art and I’m still a huge fan of sci-fi art and sci-fi movies.” For more on Michel’s artwork and his band visit: http://www.voivod.com/.
A few weeks ago I posted a blog about an amazing product from our friends at the Nashville Sampling Company (read here). NSC’s new sampling package was released on October 8 and features our best friend Rich Redmond. This 37 GB library includes Rich’s best DW drum kits, as well as an array of microphone positions, dynamic layers and mixing controls to achieve a Class-A drum sound for music productions in Country, Rock, Pop, Metal and any other genre requiring high quality, dynamic drum sounds. Headlining this one-of-a-kind package Rich took a few minutes out of his busy schedule to discuss his contribution.
MA: How did you become involved in this project?
RR: I initially got involved through my friend Garrett Goodwin, the drummer behind Carrie Underwood. He introduced me to Justin Miller the executive producer of the Nashville Sampling Company. Of course both of these guys have great reputations. I immediately saw the opportunity to be a part of a great project. My friend and talented drum tech Jon Hull was also an important part of the process too. He was there assisting me 18 hours a day and he was responsible for the meticulous tuning of all the drums. Everyone involved in this project brought their A-game and it shows in the final result.
MA: Tell us about the product?
RR: I’m so excited about this! I’ve wanted to sample my drums for some time and I finally have that opportunity. There are 18 hours of meticulous recordings and I’m proud of them all. Users will love the attention to detail and the control over the drum and cymbal sounds. We took the time to get it right. I really feel like my purpose in life is to help people. That mindset influences my work. This sampling package will help drummers and producers get that perfect sound they’ve been looking for. It will also help composers, songwriters, engineers and band members. All of the demos and loops on this project were created by Justin who captured and created these state of the art sounds. All of the video demos were performed by Garrett. The massive library we came up with includes 50,000 samples that were recorded by 23 microphones. There are tons of velocity layers and round robins.
MA: What sets this product apart?
RR: You would have to ask Justin what makes it technically different from other products out there but I can tell you that these sounds are the drums that I’ve used on hit records in Nashville for the last 10 years. I am literally giving away my signature drum sound to the user. Of course nobody sounds like me so it’s an intimate connection between the sample and recording. It can be used in a variety of recording situations by a variety of users and genres. It allows me to be a part of their projects, in spirit, not in the flesh. I’m very proud to be a part of this product. It’s me in a box. It does it all!
For more information visit: https://www.nashvillesamplingco.com/richredmond.
I’m thinking about that Live Facebook Chat I’m looking to do. I want it to be a two-way conversation so I’m going to petition what future topics you would like to see covered on the Off Beat blog. Our discussion will determine what upcoming topics are covered. Anything drum-related goes. I’m looking at what days and times work best with my schedule so I will let you know as soon as I firm things up. I’m thinking a Tuesday or Thursday late afternoon. Until then, think about what you would like to see posted. I’m looking forward to chatting with you.
Off Beat has been around since 2015 and in all that time the subject of Karen Carpenter has not come up once. I find that disappointing but at the same time not surprising. Today, Karen is often forgotten when discussing drummers, let alone female ones. Her remembrance as an ambitious singer-songwriter overshadows her contributions to music as a drummer. Karen did receive credit at the height of her career. In a 1975 Playboy magazine reader’s poll, Karen was voted the best rock drummer of the year—beating out Led Zeppelin’s John Bonham. This made Bonzo furious.
Karen first took up the drums at the age of fifteen and immediately showed an aptitude for them. Listening to jazz for most of her life she was primarily influenced by a mix of Joe Morello and Ringo Starr. This gave her a foundation for both jazz and rock and resulted in a diverse style of play. Karen joined the marching band at school. She started out on the glockenspiel but later moved to the snare drum. Karen only took lessons for about a year before moving beyond the practice room and onto the stage. She drummed in various projects that also featured her brother, including the Richard Carpenter Trio. Karen’s ability to compose drum parts and play odd time signatures was impressive to all who worked with her. Considered to have perfect time, she was able to seamlessly mix grace notes, accents, hand/foot combos, and double- and single-stroke fills.
As Richard and Karen formed The Carpenters, the act that would propel them to stardom, her drumming became part of their act. Although she didn’t play on the studio tracks, Karen performed live. In a made for TV special, Karen did a 6 minute performance to “Strike up the Band” in which she ran from drum to drum playing a solo at each one (see below). This included drum set, snare drum, concert toms, timpani, glockenspiel, timbale and more. She then traded fours with Cubby O’Brien, the band’s touring drummer who occupied the drum chair when Karen was out front singing. With performances like this it’s not surprising that Karen earned the respect of some of the greatest drummers of the day. Buddy Rich referred to her as “one of my favorite drummers.” Hal Blaine, who played on most of The Carpenters studio tracks, said he considered Karen to be “a great drummer.”
Still many people were unaware that Karen had an impeccable ability to play the drums, in part because the public wanted a singing Karen Carpenter, rather than a drumming Karen Carpenter. Sadly, this amazing talent left us too soon. On February 4, 1983, at the age of thirty-two, Karen suffered a heart attack as a result of her battle with anorexia. Fortunately, The Carpenters left behind a great legacy of music and Karen left behind a great legacy of drumming. Instead of a singer who played the drums, I like to think of her as a drummer who sang. For an excellent article on the life of Karen Carpenter from a drumming perspective, visit Dena Tauriello’s column at ModernDrummer.com.
I’m not what you would call a “natural” drummer. I can’t just walk up behind a drum set and immediately start playing. I get pain in my hands if I don’t properly exercise them and I cramp up. I’ve struggled with carpal tunnel syndrome before and it’s very frustrating during the recovery. I need to warm-up every time I play whether it’s just a practice session or more. Finding the right stick (signature from Rich Sticks) helped tremendously but I still require a proper warm-up. Here is a simple but effective exercise that I developed. You may have seen something like it before. I recall we did a version of this in our drum line. Let me know if you have a warm-up system in the comments below.