DRUM CENTER DRUM TIPS

This series of drum tips is presented by John Johnson, manager of the Drum Center of Lexington. John is widely regarded as a premier drummer, bandleader, and drum technician in Central Kentucky.

I'm actually going to discuss something not related to drum sound this month. Working in this store for nearly 10 years, I've seen lots of badly pitted (dented) heads, broken heads, broken cymbals, etc. This article is dedicated to why things get damaged or broken and what can be done to prevent it.

If you do it correctly, you can play VERY loud without breaking things. I have a gig that is very loud on stage and I have to play nearly as loud as I can at times. Although I have to hit really hard, I don't break sticks or heads or cymbals. Please understand that I'm not talking down to anyone. I learned how to play hard correctly only after many years of breaking things A LOT. I broke enough cymbals as a young drummer to deplete the world's supply of bronze! This fact made me realize that I had to learn how to properly hit my stuff or I wasn't going to be able to afford to be a drummer.

When you strike a drum, you should hit it at the flattest angle possible. Make sure when you make contact with the drum that the shaft of the stick is very close to parallel with the surface you are hitting. The head can take the most impact this way without doing damage. Hitting your drums at a steep angle is dangerously close to stabbing straight into them. Also. don't play through the drum. Swinging for the bottom head will kill the top head. Be aware of the surface your aiming for.

As for cymbals, swing at the wing nut on the stand will break things. Be aware of the location of the edge of the cymbal and strike it in a sweeping motion. The cymbal likes this a lot more than playing through it and it will sound better and last a lot longer.

If you are breaking or damaging sticks, heads or cymbals, it may not be how hard you're hitting but HOW you're hitting. Usually broken things indicates that you are doing something wrong. This was a hard lesson for me to learn but I'm really glad I did. It's better for my aging body, too. I can afford to be a drummer again!

Remember to stop by the store if you have questions. Thanks for reading this! -John

I'm really trying to do these articles about something other than tone but I get asked a lot of questions about how to sound good (and I'm obsessed with sounding good!). So, once again, I'll be talking about how to make your drums sound as good as possible. The question I'll try to answer this month is, "To mic or not to mic."

I have a regular gig at a local night club that most of my peers know about. Several of those guys have asked, "Do you mic your drums in there?" to which I reply ''Yes. I mic my drums EVERYWHERE." Usually I get a puzzled look and then the question, "Why? That place is small." What follows is my stock answer and the reasoning behind it.

Any time I play and there is a p.a. in the room, I mic my drums. It can be a pain and consume a little time but the results are more than worth it. In small rooms you should mic your drums for TONE and not necessarily volume. Drums being an acoustic instrument (often the ONLY acoustic instrument on stage), the farther you are from the kit, the less tone you get and you end up with an impact sound and very little sustain. It is this sustain that you can get through mics and a p.a. and almost never without it. This is also the reason that I never muffle my snare or toms and only minimally muffle my kick. if your preference is for a deader sound, then you need to mic even more than I do.

On another note, being purely acoustic puts a drummer at a specific disadvantage. Volume. When a person plays an electric instrument, they simply turn a knob to the right to get louder. Nothing about how hard they are playing changes. For drummers, volume is purely physical and more volume requires more energy and motion. At a point, your finesse chops are history and you risk injury. Not cool. Using mics can all but eliminate these problems because if you can hear and feel your drums through a p.a., you won't feel the need to wail as hard and that will cascade into you playing quieter which means the electric players can be quieter..........you get the point.

Really consider this mic thing. There are many products available at a lot of different price points. You may be able to get mics cheaper than you thought. If your curious, stop by the store and talk to someone. We can help you identify your needs and help you get something that won't put you in the poorhouse (or doghouse for the married). We have access to almost anything. Until next time.

Who are you trying to impress?

I'd like to begin this article by thanking those who have offered feedback on previous drum tips. You know who you are. Thanks a Lot!

Several years ago I had an epiphany (short for "an episode of instantaneous, profound realization"). One of my musician friends asked me, "Who would you rather impress? Other drummers or the guys you play in a band with?" This question really made me think about something I now see as very important. Who WOULD I rather have think of me as a good drummer?

Have you ever noticed yourself perking up a little bit when you know that another drummer has walked into the room where you're playing? Maybe played a little (or a LOT) louder? Maybe played that wicked fill you'd been working on? Maybe did something to you wouldn't normally do in a song? Did you try to impress the other drummer?

If you said "yes" to this question (I think if we're all honest, we've done this at least once), ask yourself another question: How did your bandmates react to this change in your playing? Did they react in a positive or negative way? Did they react at all?

This whole thing is simply regarding how we approach our gig. As a young drummer, I had a tendency to overplay. I heard all of these wonderful things I could add to the mundane beats in most commercial music and couldn't help but express them. In the moment, I really felt as if I was adding to the music. I played A LOT more notes than were in the original song my bands were covering and as I was doing it, I felt great about it. Other drummers would come out and then I would REALLY lean into it. I wanted those guys to know how great I was because I could squeeze a gazillion notes into one measure of a country music ballad. As I write this at 40 years old, I actually laugh out loud!

I found the cure for my misconceptions to be a simple recording of a live performance. Not only did I realize that all that crap was inappropriate for the gig I was lucky enough to have, but also that most of the time, all those notes came at the expense of good time and feel, which is what my REAL job was supposed to be! How horribly painful!

My point is this: Unless you're in a band that requires a "lead drummer", you probably shouldn't try to play like one. The fact is that commercial music (which is what most of us play) requires that we play relatively simple beats and mark the changes between the sections of the songs. That's it. And it's not as easy to do well as you might think. It is unlikely that we will be in a band with another drumset player at any given gig. But we WILL be in a band with usually at least a bass player and a guitarist. For me now, those are the guys I want to impress. Not with my chops but with hopefully my sense of musicality and understanding of my role in the band. More people want to play with me these days now that prioritize doing my job well and leaving my ego in the car. I hope my terrible experiences help people and that I might somehow spare someone from some of the humiliation I've experienced. Music is a team sport. Be a good team member and your bandmates will love you for it. Until next time. -John

Head Selection

I know it seems like I'm obsessed with good drum tone. That's because I am! This month's tips are also about how to sound your best.

Drums are unique in that they are very sensitive to head selection. All manufacturers basically make their own versions of the heads other manufacturers make. Kind of like all car companies pretty much make cars, trucks, station wagons, and vans. That's because these are tried and true models that each serve a specific purpose. Same with drum heads.

There are essentially three different construction types for drum heads: single ply, two ply, and self-muffling single or two-ply. Coated heads and heads with reinforcement dots (on top or bottom) fall into the self-muffling category as do heads with built-in muffling rings. Some heads even have tiny holes (vents) in them to muffle the sound in a specific way.

Single ply heads offer an open sound that may have more sustain than a two-ply head. When you add mass to either one, you reduce the vibration of the head which means you muffle it. Muffling can be subtle such as coating or a dot or not so subtle such as a large amount of tape. There are many points in between.

I can't tell a person what their favorite sound is any more than I can tell them what their favorite car is. I can however help a person identify their favorite sound and then help them achieve it. Stop by the shop sometime and we'll talk about it. Anyone at the Drum Center can help. Work hard and play harder. -- John Johnson, manager

Performance Perception

Recently, a few of my peers have talked with me about having had a bad performance. These guys were devastated and desperate to be sure that they would never have such a bad gig ever again. I know that feeling all too well so this month's tips will address this issue that affects us all at one time or another.

When we perform, our perception of how we're doing can be from great to horrible and all points in between. Even though most gigs fall somewhere between the extremes, the very good nights feel incredible and the bad nights feel REALLY bad. I've been sickened by my own performance many times and elated quite a bit less. These days, I rarely have exceptionally good or bad nights and I believe this is due to some advice a great musician friend of mine gave a few years back. I went to him in the same terrible shape that my friends came to me in after what I believed to be the worst performance of my life. I was crushed by what I perceived to be an all time low in my history. I was desperate to keep this from happening ever again. This is my explanation of our conversation that day:

Although our PERCEPTION of how we play can vary widely, how we ACTUALLY play doesn't vary much at all. This seems odd I know but here's what I mean: Once we've been playing for a while, we achieve a certain "level" of proficiency both physically and mentally. This level is actually quite stable and not subject to extreme changes no matter how we feel on a given night. Think about it. Is it possible that you were a really good drummer yesterday but you're a really bad drummer today? Maybe it's possible but not very likely. Your level isn't subject to change because it took you a while to get there. Most of us improve over time. Our level goes up provided we practice and/or perform regularly. Once we've attained a certain level, we're pretty much there. I know this from experience. There is always room to improve but it's highly unlikely that you'll actually get worse over time.

Many things can influence our perception of our performance. Bad monitors or stage mix, mood, venue, time of day, etc. This list goes on and on. Sometimes we just don't feel "on". My advice on this subject is simple. Don't take the situation you're in (or yourself) too seriously. Trust in your level being nearly constant and be aware that your perception is subject to change. Just knowing this as fact helps me feel neither exceptionally bad nor great about an isolated performance. I usually feel pretty good about the way I've played, although this is merely perception, too. The fact is, I've been playing for a very long time and my level is stable, be it high or low. Trust that your level is stable, too. I hope this helps you as much as it helped me. Remember to keep your chin up and maintain a positive attitude. If your level isn't where you want it, work hard to raise it and it will happen. Until next time, work hard and play harder. -- John

Improving Your Time

Have you ever been at a rehearsal or gig and had the other guys (or girls) in the band complain about your time? If you said, "yes." you're not alone. This is an issue that comes up over and over again. This month's tips will address this and hopefully offer some possible solutions.

In pop music (anything you might hear on the radio), a drummer's role is quite simple: play beats and mark changes. The changes I refer to are, for example, the transition from the verse to the chorus of a song. Seems simple enough. Then why do most of us have trouble filling this simple role from time to time? I think it's because although the job description is quite simple, doing the job really well is quite difficult.

Playing beats is the bulk of this role. This is what we will be doing the vast majority of the time so it pays to be good at it. So how do I know if I'm doing it well or not? A couple of things that I have found particularly helpful over the years are easy to do and will provide almost immediate results.

Get a metronome. If you don't know what this is, shame on you. A metronome is an absolute must for any drummer be it a pro, a hobbyist, or a beginning student. Metronomes take the guesswork out of tempo issues and offer an anchor in a sea of fluctuating time. Get the best one you can afford and practice with it alone for a while until you get the hang of it. Then you can introduce it into your rehearsals and gigs. Then if you get griped at while playing with your band, you can say, "I'm not sure what you're hearing, but it ain't me. I'm using a metronome." Please note that drummers aren't the only players who's crappy time can influence the way a song sounds. ANY player has to have good time to sound good with a band. Meter is a fundamental that ALL musicians must contend with. Period. The problem may not be the drummer at all. A metronome is an easy way to improve your time playing. If you don't have one, get one.

Recording your practice, rehearsals, and gigs is another way to improve. This can be quite painful and surprising if you've never done it. Recordings don't lie. I've listened to recordings of myself that made me want to throw up. While I found this extremely unpleasant, it motivated me to identify and root out my dysfunction. Get yourself a recording device and use it. It doesn't have to be an expensive thing, just functional. A simple and inexpensive "shoebox" tape recorder will work just fine and should cost $20 or less. These are (or at least used to be) available at Radio Shack and similar places. I suggest recording yourself and waiting a month to listen. This will provide a more objective look at what you really sound like. The waiting gives you time to lose the emotional connection you have with what you've recorded. Ideally, you won't remember the day you recorded at all when you listen back. What you think you sound like could have very little in common with what you ACTUALLY sound like. OUCH!!!!!! What a motivator! Don't let it discourage you. Use it as a tool for improvement.

Musicians are on a journey with no destination. You'll never live long enough to get it all. Just try to be the best you can be and give these tools for improvement a shot.. Be kind but firm and honest with yourself. Work hard, play harder and hang in there. Getting better can be a lot of work and humiliation but the payoff is worth it.

As always, if you have questions about any drum-related things, stop by the shop and ask someone. We're always happy to help. - John

Saving Money on Maintenance Costs

Occasionally, you will experience drum hardware malfunctions. Many times, especially with bass drum pedals and hi-hat stands, this is due to something being out of adjustment or simply misassembled. When it's clear that something is just broken, sometimes you can easily ( and inexpensively) fix it yourself.

Stripped threads on wing nuts, bolts, or other threaded surfaces can often be repaired by simply replacing the damaged part that you can probably find easily at your local hardware store (mom and pop places of course). In the case of stripped threads in larger objects (tom mounts, cymbal stands, tom holders, etc.), it can be a little harder to deal with.

Thread repair results vary with the method used. Helicoils and similar thread-replacement type devices have never worked for me personally. Re-tapping and using a bigger wing screw would be better, but without the right tools, it can be a real pain. I'm not aware of other inexpensive, effective repairs for threads. Not an expert in that field.

Look at the rest of the defective piece of hardware. Are there other problem areas on the same piece? Have you tried to repair this same problem before unsuccessfully? How long have you had it? Was it of good quality when new? Is it mostly held together with duct tape? Sometimes, a piece of hardware is just "totalled" and must be replaced. A good-quality, modern product from a reputable manufacturer is better than old, broken stuff. Please note that very expensive hardware doesn't necessarily mean better hardware. Several manufacturers make solid, functional hardware that costs a fraction of the most expensive stuff.

As always, when in doubt, stop by The Drum Center. If you're not sure what to do, we'll do our best to help. -John

Budget for Your Cymbals

When looking to buy your first drum kit or replace one you already have consider this: If your purchase involves cymbals, get good (read more expensive) ones, if they sound best to your ears. While you can do a lot to change the way a drum sounds (head selection, tuning, muffling, etc.) you can do very little to change a cymbal's sound in a positive way. Sure, you could put tape on them or something but that would probably just make you like the cymbal less.

Choose cymbals that sound good to you. If you like the way an inexpensive cymbal sounds and can afford it, get it. If you like the sound of an expensive cymbal but can't afford it right now, save up your money or better yet, put it in layaway. Putting it in layaway assures that you will get the exact cymbal you fell in love with. This is important because cast cymbals can and do vary to a great degree. Two cast cymbals of the same brand, line, and size may not sound at all alike (I'll elaborate in a later article). Many people find this surprising but it's quite true.

In short, budget for cymbals you like. You'll be much happier with your sound in the long run. Hope you've found this helpful. Stop by the store sometime and we'll talk about it. -John