Gavin Harrison here!

[Basil]

Hello!

Ordered your new DVD today from burningshed.com, really looking forward to it. Knowing how busy you are, I find it both fascinating and inspiring that you invest some of your time answering questions on this board, thanks a lot.

I`ve been listening to Circles a lot (as well as some of your previous records), and I was wondering how you compose the drum parts. There`s a line in an old Sting song (from "Ten Summoner`s Tales" I think) that says "I can`t hear the rhythm for the drums" and listening to you and O5rics records, that line comes back to me. Do you plan/map out odd meters and changes before the music is finished or is the music already written? Assuming that you could have taken it even further into odd time signatures and changes, manipulation of time, overriding,playing across the timesignature etc, how hard is it to know when to stop make it more complex?

Also knowing your work with PT, what other of your recordings would you recommend?

Sorry if these topics have been raised before.

Thanks.
Kjetil

[Gavin Harrison]

Hi Basil

I`ve been listening to Circles a lot (as well as some of your previous records), and I was wondering how you compose the drum parts. There`s a line in an old Sting song (from "Ten Summoner`s Tales" I think) that says "I can`t hear the rhythm for the drums" listening to you and O5rics records, that line comes back to me.

I know the one - it's actually from "Jeremiah Blues" on "Soul Cages"- I really Manu Katche's drumming on that record.

Do you plan/map out odd meters and changes before the music is finished or is the music already written?

A lot of your questions will be answered when you see the book/dvd package.
Sometimes the compositions are started from drum rhythms - so we write around them - other times Ric writes stuff and I just listen to it and jam along until I think I've found something that I like. I try to find rhythms that I haven't heard on records before - and try to stay clear of what I think are cliches.

Assuming that you could have taken it even further into odd time signatures and changes, manipulation of time, overriding,playing across the timesignature etc, how hard is it to know when to stop make it more complex?

I try to stop at the point where I think it just starts to sound 'clever' just for the sake of it. For me - there needs to be a musical reason for an odd bar or strange time signature. Sometimes it's to accommodate a vocal line. It kind of depends on your personal perspective and taste. If you've been listening to complex music (Allan Holdsworth/Vinnie) our stuff probably doesn't sound as 'way out' as that to you. If on the other hand you listen to a lot more simple structured stuff (Beatles/Ringo) then our stuff would sound very complex - so it kind of depends where you're coming from and what you might be comparing or referencing it to.

Also knowing your work with PT, what other of your recordings would you recommend?

More recent stuff would be
"Blood" by OSI
Ed Poole's "ED4"
Jakko Jakszyk's "Glee Club"

cheers
Gavin

[Basil]

Thanks
Sorry, wrong album, I had to go back and listen to both those Sting albums again last night, have always remembered that line but not which song.

Looking forward to the DVD/book and getting more into the concepts behind the songs

Assuming that you both you and O5ric have endless limitations (or seem to have) as to how far you can push the songs in different directions both technically, dynamically and and rhythmically speaking, and serve the song as well, I would like to think it sometimes can be a challenge knowing what not to play. Complex music (and I do believe your compositions belong in that category and therefore it is my reference point) can be as beautiful as more simple structured music as long as there is a recognizable theme, melody, groove or structure. When listening to even more complex music, that can sometimes be lost, and you guys seem to balance out that aspect. It`s also important in more complex music to know what to play and what not to play.

"Stop being clever for the sake of it" I`ll keep that in mind for sure.

Reading Bill Brufords last book, I seem to remember that he recieved a co-writing credit for not wanting to play or add anything at all. What a reminder for a lot of musicians!

With regards
K

[Kalma]

Hi Gavin,

i'm going to order "Rhythmic Designs" in the next time!

How can I be sure to order a signed copy?


Thanks
David

[SantiBanks]

Hi Gavin,

i'm going to order "Rhythmic Designs" in the next time!

How can I be sure to order a signed copy?


Thanks
David
Yeah I just preordered a copy. Are those the ones that get signed? And congratulations with your new book/dvd set. I'm really looking forward to it!

[Swiss Matthias]

Great, I ordered one too! Looking forward to the package!

[Gavin Harrison]

Hi Kalma

i'm going to order "Rhythmic Designs" in the next time!
How can I be sure to order a signed copy?

The first load for sale at http://www.burningshed.com/store/gavinharrison/ will all be signed by me. Once that supply runs out - probably not - so don't wait too long.

cheers
Gavin

[Gus]

Hi Gavin

I´m also waiting for my copy to come.
Could you advance us which songs are on the minus-drums files?

Thanks for your time.

Gustavo

[Peter Schneider]

Hello guys, hello Gavin,

first of all: Best new-year-wishes for you all !

Gavin: I love your drumming. Especially it is very aesthetic to watch you drumming. Thanx for your great music and inspiring me! The new PT album is really great!

Perhaps you could help me to find a not too expensive ride-cymbal, which is a hybrid for the genres jazz and pop/rock. Wide range I know, but possible? Don't have the money to buy two ride-cymbals. Do you have any suggestions for me?

The ride should fit to my crashes.
I have a k-custom dark crash 17 inch and one k-custom session crash 16 inch.

Thanx for your help!

With kind regards from germany.

Peter

[Gavin Harrison]

Hi Gus

I´m also waiting for my copy to come.
Could you advance us which songs are on the minus-drums files?

As far as I remember it's
Centered, Unsettled, Life from "Drop"
Scar, Beyond The A, Source from "Circles"

Hi Peter Schneider

Perhaps you could help me to find a not too expensive ride-cymbal, which is a hybrid for the genres jazz and pop/rock. Wide range I know, but possible? Don't have the money to buy two ride-cymbals. Do you have any suggestions for me?

I find the Zildjian K 20" Ride to be a very versatile ride cymbal - it doesn't have a real dark smokey jazz sound but a cymbal that that did have that wouldn't really cut it in a pop rock kind of way. It's quite a clear hi-fi sound.

You can hear it hear in a rock setting http://www.drummerworld.com/Videos/gavinharrisonmd08hudson.html

and the same cymbal in a more jazzy setting http://www.youtube.com/watch?v=JwWoOMALJrQ

cheers
Gavin

[Peter Schneider]

Hi Gavin,

thanx a lot for answering my questions!
The cymbal sounds great to me, as far as my laptop-speakers do their job. ;o)
But I know this cymbal already.

I now have the offer for a Zildjian K custom medium ride 20 inch. Do you know this and how is your opinion to that in the jazz and pop/rock context?

Would be very nice to hear what you say?

Ah, another question: What about the Musikmesse Frankfurt this year? Will you be there?

CU
Peter

[Marcos]

Hi Gavin!!!

I bought an used (but in excellent condition) snare drum, I think that you have the same or similar.
It‘s a Yamaha recording custom 14"x5,5"

But the snare cames with many strands, like 40!
How can I customize my new snare drum to be/sound like yours?

I know that you use the Remo Coated Pinstripe on the top (snare side ambassador) and 8 strand Puresound snares that you cut from the puresound with 12 strands, am I correct?
But what is the model of puresound snare do you use?

I found only two models for 14" that uses 12 strand, the Concert Series and the Equalizer Series. What‘s the model that you use?

Last question: Do you use S-hoops on this snare drum?

I made the download of circles and arriving somewhere DVD audio in your website store. Great sound! Congratulations from Brazil and thanks to answer our questions and to be very patient.

Marcos

[ryangallagher]

Hi Gavin,

I've been following your drumming for a while now and I'm pleased to see your rise in prominence!

My question to you is:

A number of years ago (maybe about 10?) I attended a drum clinic in Glasgow. I'm pretty sure a certain Gavin Harrison was demonstrating the "new" Pearl Masterworks line. If I remember correctly it was a purple marble finish.

First of all, was that actually you?

Secondly, what was the general set up in those days? I seem to remember crotales instead of bells but I may be mistaken?

I find it interesting how peoples set ups and positioning of equipment change with time. Even following your playing from Deadwing onwards, positioning has changed subtly, where as my set up hasn't changed at all since 2002 (my last kit purchase). What makes you fell the need to change positions of cymbals etc?

Enjoying the educational element of your work! Incidentally I just checked out your work with Incognito. You are one funky drummer! Do you have any other work of that genre available?

Cheers,

Ryan

[Gavin Harrison]

Hi Peter Schneider

I now have the offer for a Zildjian K custom medium ride 20 inch. Do you know this and how is your opinion to that in the jazz and pop/rock context?

I think it will fine as an all round kind of cymbal.

What about the Musikmesse Frankfurt this year? Will you be there?

I don't think I'll be there this year.

Hi Marcos

It‘s a Yamaha recording custom 14"x5,5" But the snare cames with many strands, like 40! How can I customize my new snare drum to be/sound like yours?

You can try but it may not come out as you imagine. Perhaps you have heard my drum on a record - but please bear in mind that there are a lot of other factors - other than the drum itself. The mics/room/compression/reverb/eq/mix/mastering.

I know that you use the Remo Coated Pinstripe on the top (snare side ambassador) and 8 strand Puresound snares that you cut from the puresound with 12 strands, am I correct?But what is the model of puresound snare do you use?

That's pretty much how I set my one up. The snares are called "Puresound Custom" P1412

Last question: Do you use S-hoops on this snare drum?

Yes on the top I use S-Hoops.

Hi ryangallagher

A number of years ago (maybe about 10?) I attended a drum clinic in Glasgow. I'm pretty sure a certain Gavin Harrison was demonstrating the "new" Pearl Masterworks line. If I remember correctly it was a purple marble finish.First of all, was that actually you?

Yes it was. It was 1998 and it was the first Masterworks set in the UK. I remember that clinic becuase we got to the venue to find out that the promoter had advertised it for two different dates and confused a lot of folks who turned up the following week to find that there was no show. Also I think it was a strip club kind of place - and I set up the drums in the afternoon and played them for about 10 seconds before a great big guy (who looked like Tony Soprano) ran down the stairs and screamed "SHUT THE F**K UP!!!!"

Secondly, what was the general set up in those days? I seem to remember crotales instead of bells but I may be mistaken?

Same kind of setup as I've used for the last 25 years 22" 8" 10" 12" 14" 16" 14" snare. I did use a set of crotales too.

I find it interesting how peoples set ups and positioning of equipment change with time. Even following your playing from Deadwing onwards, positioning has changed subtly, where as my set up hasn't changed at all since 2002 (my last kit purchase). What makes you fell the need to change positions of cymbals etc?

I don't think mine has changed that much. Probably the cymbals have changed over time - I've added a couple of extra Chinas and effects cymbals since then.

Enjoying the educational element of your work! Incidentally I just checked out your work with Incognito. You are one funky drummer! Do you have any other work of that genre available?

Ed Poole's last album "ED 4" you can hear some samples of it here http://www.myspace.com/edpoole "Lock Stock" "Smoulder" "Rollin" "Twango" and I've just recorded 6 tracks on his new album that will be released soon.

Cheers
Gavin

[Kongo]

Mr. Harrison, any plans on coming to NY in April 2010?

[NeuroAxis]

Gavin -

I had a question on your work with King Crimson. For a long time now I have been trying to figure out the sticking used for the snare roll that introduces the doulble drum jam 'B'Boom.'

http://www.youtube.com/watch?v=UBqoYsVLqRo (the one starting at 5:15; I know this is Bruford playing it and not you but it sounds to my ears like you used the same sticking from the Chicago Crim concert download).

I know you don't have time to transcribe but do you remember the sticking used for that pattern?

Thanks...

[Gavin Harrison]

Hi Kongo

Mr. Harrison, any plans on coming to NY in April 2010?

no plans at the moment.

Hi NeuroAxis

I had a question on your work with King Crimson. For a long time now I have been trying to figure out the sticking used for the snare roll that introduces the doulble drum jam 'B'Boom.'
I know you don't have time to transcribe but do you remember the sticking used for that pattern?

Here's the easiest way to think of it. First play the pattern (it's in 7/4) all as 16ths on the snare drum - making those accents that you can clearly hear on the example. Then every note that isn't an accent - play a double stroke. It's very simple - but quite hard at that speed.

cheers
Gavin

[BillBachman]

Are there any recording or videos available with you & King Crimson? I'd love to check that out. It's funny that I was rehearsing at Soundcheck in Nashville for some Neal Morse shows and the staff told us that you guys were in that same room rehearsing just days earlier.

[ProgJazzy(QC)]

Hi there Mr. Harrison is there any chance to see Porcupine Tree playing in Quebec city during the second north-american tour, since you attended Montreal at the first tour?

Thx again keep up the great playing and inspiration!

[Gavin Harrison]

Hi Kongo,
further to my last message - we can now announce that PT will be playing NYC Radio City Music Hall 24th of September!!!

Hi BillBachman

Are there any recording or videos available with you & King Crimson? I'd love to check that out. It's funny that I was rehearsing at Soundcheck in Nashville for some Neal Morse shows and the staff told us that you guys were in that same room rehearsing just days earlier.

Yes there is a live show recording from Chicago http://www.dgmlive.com/archive.htm?artist=16&show=1301

Soundcheck is an amazing rehearsal place.

Hi ProgJazzy(QC)

is there any chance to see Porcupine Tree playing in Quebec city during the second north-american tour, since you attended Montreal at the first tour?

We're working on it. Can't promise anything but stay tuned.

cheers
Gavin

[Fox622003]

Hey Gavin, we had a small outdoors gig yesterday, and even though I knew while we were playing that it wasn't going great, once I heard the recording, I just went almost suicidal at all the rhythmic mistakes I was making. I mean, my normal playing sounded awkward, and while I nailed some of the fills, I messed up a lot of the details and small variations. I am generally VERY picky with other people's tightness and my own, and can spot mistakes and inconsistencies quite easily, so I was surprised I didn't realise at how untight some of the stuff was coming out while playing, and only after listening to the recording. My question is, how is it possible that if I *know* how it is and can spot the mistake (the sound was OK, again, these were mostly rhythmic mistakes, the timing didn't sound clean), I get it wrong in the execution? And so often, I think there wasn't *one* song in which I could say: "Well, alright, this was flawless" (or even tight/relatively clean). I hope the long paragraph is not confusing and you understand what I'm trying to ask, because I think I've only heard you mess up once or twice in all the live footage I've seen of your playing, and it was *small*, so you clearly know how to get your stuff right live.
Thanks for taking the time to read and hope you have some advice.


All the best, Fox.

[Adam8]

Hi Gavin, first off I have to tell you I'm a huge fan of PT and you drumming. It's all very inspiring stuff. My question relates to drumming. I had a lesson a while back when I was in a bit of a drumming slump or crossroads you could say. I felt I needed a bit of guidance as to which direction I should go to move forward as a musician. My teacher, a professional of almost 40 years, suggested I focus on finger control and technique along with advanced independence and jazz stuff. I'm having a bit of difficulty with these concepts and was wondering if you experienced this situation when you were younger and what may have helped you to get through it. Thanks

[Gavin Harrison]

Hi Fox622003

Hey Gavin, we had a small outdoors gig yesterday, and even though I knew while we were playing that it wasn't going great, once I heard the recording, I just went almost suicidal at all the rhythmic mistakes I was making.

Yes I'm familiar with that feeling. I used to record EVERY gig I played (on a little Sony Walkman) and then spend the next day analyzing it. Same thing with practise sessions - It's a hard lesson but worth doing if you want to improve. It's important that you hear what you really sound like - as opposed to how you think you sound whilst you're playing. It's really hard to hear those errors whilst you're actually playing - you just need to listen in a different way.

Hi Adam8

I had a lesson a while back when I was in a bit of a drumming slump or crossroads you could say. I felt I needed a bit of guidance as to which direction I should go to move forward as a musician. My teacher, a professional of almost 40 years, suggested I focus on finger control and technique along with advanced independence and jazz stuff. I'm having a bit of difficulty with these concepts and was wondering if you experienced this situation when you were younger and what may have helped you to get through it.

My teachers would suggest all sorts of things that I should be doing - but I respected their wisdom and just got on with it. Actually I was happy to play and practise anything that was a challenge.

Cheers
Gavin

[crimsonfloyd]

Hi Gavin.

While watching the interview at Drum Department posted on the PT MySpace page, I noticed again, how good your double bass playing is. It might be not the Panthera-like playing style (as we all know, actually), but it's as subtle as it is "fast" in its own right.

As you can tell by my nickname, I'm coming from the old prog-like era, and started serious listening with Pink Floyd (even I'm only 20...). So, when it comes to playing, if it's in a jazz cover band or my own band, I'm not a brilliant double bass player as well.

At what age did you develope most of your double bass-style? When did you first got a double bass pedal? And, finally - any tips? I remember, I've read somewhere, that you practice still a lot for your left foot.

Cheers.

Fabian

[massive prog fan]

Hi there Gavin,

Please excuse me if you've already announced/been asked this, but are there plans to do any in-store appearances or clinics while on PT's tour of Australia next week? Either by yourself or with the rest of the band?

Best regards.

[Alex P.]

Hi Gavin,

I received your new dvd/book a few days ago.

Congratulations to you & Terry !

It’s really helpful to see you playing and explaining all these grooves. The “bonus” are great too. And so many transcriptions, it’s like heaven to me…!
So, thanks for doing this.

Sincerely,

Alex P.

[Gavin Harrison]

Hi crimsonfloyd

At what age did you develope most of your double bass-style? When did you first got a double bass pedal? And, finally - any tips? I remember, I've read somewhere, that you practice still a lot for your left foot.

I'm still developing it now. I used to have two bass drums back in the early 1980's and then in 1984 I bought the first DW double pedal - so then I gave up with the two bass drums. I was always trying to get them to sound the same anyway (which they never did).
I tried practising along to records and seeing what I could think of to play on them. I never liked the continuous 16ths thing - so I was looking for broken up patterns based on 2,3,4 or 5 notes in a row. I always lead with my right foot - no matter where the pattern starts and always played singles. My goal has always been "control & accuracy" - I was never interested in going fast.

Hi massive prog fan

Please excuse me if you've already announced/been asked this, but are there plans to do any in-store appearances or clinics while on PT's tour of Australia next week? Either by yourself or with the rest of the band?

Not as far as I know at this moment.

Hi Alex P.

I received your new dvd/book a few days ago.
Congratulations to you & Terry !

many thanks - we worked really hard on it.

cheers
Gavin

[Heitor]

Hi Gavin!

I have a question about the pre-recorded audio you use in PT shows...
What is the system you use to trigger the audio and how is it organized? Do you have each individual audio track from the song playing or do you make a stereo track of everything you need? Do you have one huge session for the entire show or each song on the concert has a different Protools/Logic/whatever session?

If you could please describe how you guys do it in PT, I would love to know about it!

Cheers,
Heitor.

[ahector]

I always lead with my right foot - no matter where the pattern starts and always played doubles.

Do you mean singles?

[Gavin Harrison]

Hi Heitor

What is the system you use to trigger the audio and how is it organized? Do you have each individual audio track from the song playing or do you make a stereo track of everything you need? Do you have one huge session for the entire show or each song on the concert has a different Protools/Logic/whatever session?

We use Logic on a MacBook Pro. There is control over individual tracks - rather than a stereo mix. You can make a mix at home but find that it doesn't work well in a venue through a massive PA - so you need separate control. The whole show needs to be in one huge song because there isn't time to load new songs during the concert. Each song is just a block of audio - with a marker at the start of it. Then you just name each marker with the name of the song - and have the marker list open all the time - so that's how you can jump very quickly from song to song.

Hi ahector,

yes you're right - I meant singles. (I've corrected it now).

cheers
Gavin

[Liquid_Drummer]

Gavin,

Should I have received your new dvd by now if I pre ordered via Burning Shed ? Its been maybe 3 weeks since I placed the order.

Thanks and looking forward to learning something new.

[Gavin Harrison]

Hi Liquid_Drummer,

the books are shipping today. We had a lot of delays getting them into the UK - thanks for hanging on.

Cheers
Gavin

[kap'n krunch]

Hello there,
Went to see PT inMadrid last month (because Stickmen were opening) and I had my socks blown off by YOU!!!
Dang you hit those babies really hard!
I was about 60 feet away from the stage and I could hear the direct sound when you hit the toms , not thru the PA...
I am a Stick /Bass player who has had a Yamaha edrumset for a couple of years now, so I know how difficult what you do really is.

My question is ..are you a Taurus? Just curious.

Thanks!
Al
(k'n k)

[Gavin Harrison]

Hi kap'n krunch,

glad you enjoyed the show. I'm a Gemini by the way.

cheers
Gavin

[Kalma]

Hey Gavin,

can you tell me when shipping in Germany will be?
I wanted to order it, but it's not available.



David

[Gavin Harrison]

Hi Kalma,

it is now in stock and signed copies can be sent to Germany (or anywhere else) from http://www.burningshed.com/store/gavinharrison/

cheers
Gavin

[Liquid_Drummer]

Hi Kalma,

it is now in stock and signed copies can be sent to Germany (or anywhere else) from http://www.burningshed.com/store/gavinharrison/

cheers
Gavin

Gavin,

I watched a recent interview where it had you behind your kit in segments playing and even doing some tuning. I remember you said you were looking for the one lug that slips a bit overnight.

You said that you have to change your heads very often and that you go through a lot of sticks. Jazz and moeller guys tell me that if I am denting heads and breaking sticks that my technique and "getting out of the way" (letting the rebound do more work) needs attention. Have you ever felt that you needed to work on these things ? I did notice after about two years of retraining my grip that sticks and heads to last longer but more importantly it takes less effort to play harder.

Just curious what your feelings are about this line of thinking with hand technique ? I notice that I still have my pinky fingers sticking out when I play no matter how much I have tried to reel them in.

Do you go through sticks and heads just because you hit hard or do you think your not getting out of the way like the jazz and moeller guys preach ?

Not questioning your technique as your playing speaks for itself.

[Fox622003]

I still have my pinky fingers sticking out when I play no matter how much I have tried to reel them in.

Well, as an outside spectator, I instantly like the playing of drummers that don't tuck their fingers in a lot less, because in most cases, it messes up the sound of what they are playing, one of the only exceptions being Multiple Bounce Rolls, but even then, it just looks bad / makes you look like a beginner, even if you're playing decently, in my opinion. I can't really play doubles properly (or even good singles) without having all my fingers tucked in. So, maybe before focusing on the breaking issue, you might want to take it slowly and incorporate having all your fingers on the stick at all times in your playing.
Well, Gavin will most likely have good advice on the breaking stuff part.
Hope this helps.


Fox.

[Hurlza]

Liquid Drummer, gavin hits very very hard, in a recent post there was a picture of his snare drum head after the show and it wasnt looking to healthy at all.

Gavin any hints on the sydney setlist?

[Gavin Harrison]

Hi Liquid_Drummer

Jazz and moeller guys tell me that if I am denting heads and breaking sticks that my technique and "getting out of the way" (letting the rebound do more work) needs attention. Have you ever felt that you needed to work on these things ?Just curious what your feelings are about this line of thinking with hand technique ?

It's an interesting question. I've looked at moeller a few times in the past and never really felt it was for me. I know when I played jazz and grew up playing jazz that I would play with something like a 7A stick and hardly even needed to bother putting the top of the cymbal felts and nuts on as I played about 10% of the volume that I play with PT now (with "Vic Firth Rock" sticks). Plus my drums were tuned a lot higher then and it was possible to play double stroke rolls on the toms. With the sound I get now on my toms it's almost impossible to play double stroke rolls on them apart from the very smallest tom. Plus I like to rimshot the snare drum (something I probably wouldn't do in Jazz) and to get the sound I want I need to hit it reasonably firmly.
It was quite often the case that playing in jazz situations meant that there was an un-mic'd piano and un-amplified double bass - so playing loud was unsuitable and unmusical - I needed to balance myself with the other guys in the group acoustically.
I guess the situation I'm in now is more akin to a studio monitoring setup where we can pretty much play at any volume and adjust what we're hearing in our in-ear headphones.

In PT I choose to play at that kind of volume/aggression level because emotionally it feels right to me in a concert situation. I hit the drums and cymbals hard but not to the point where I think the sound is suffering or choking. At home in my studio when I play the stuff with 05Ric (for instance) I play about 50% of that volume - and use 5A Extreme.

I'm not claiming that I have good technique - or even a correct grip (I hold the sticks right at the extreme of the butt end and it's a different grip between the hands) - and probably it's evolving slowly over the years. It just works for me for what I'm trying to do now - but I'm always open to ideas that could improve it.

cheers
Gavin

[ilikedrums]

Hi Gavin,

you made a very interesting interview in Germany last year. Very inspiring words, i think! Thank you for the insight. The natural drumsound still through the cam-mic is great!

http://www.drumdepartment.de/content/public/dd-tv_video.php?id=10

One specific question about a so famous Drumfill/-pattern, you use so perfect. It´s the one at 0:56 and always starting with a Floor Tom or a Tom, followed by Snare and is often played over the whole kit and repeated in very high tempo.

So i always thought it's a group of 5 played as: R LRLR or R LRRL (bold means accents)

I tried it over and over, but cannot get it done, sounding smooth and with that particular fine Snarerustle (i hope you know what i mean). How do you group it and do you play them as singles without rebound (full stroke) or with a mixture of doubles and rebound? I play it as singles - maybe that's the problem or i'm to slow/technique is too bad. ;-)

[Phil Brodermann]

Hi Gavin thanks for the book/DVD package, really great thanks. And thanks for signing it :)

Cheers, Phil.

[Gavin Harrison]

Hi ilikedrums

http://www.drumdepartment.de/content...ideo.php?id=10

One specific question about a so famous Drumfill/-pattern, you use so perfect. It´s the one at 0:56 and always starting with a Floor Tom or a Tom, followed by Snare and is often played over the whole kit and repeated in very high tempo.
So i always thought it's a group of 5 played as: R LRLR or R LRRL (bold means accents)

there's so many things going on around 0:56 I can't understand which fill you mean exactly. BUT I can say if there's groups of five then I'm quite confident it will be RLRRL.

cheers
Gavin

[Crimson Redrum]

Hi Gavin,

Great Interview from drumdepartment!! I have a question, about different grip in both hands, it does affect the balance of the drummer? I think every drummer uses a different grip in both hands as a natural way to hold the sticks and to feel comfortable, but it's a goal to hold your sticks the same way in both hands?
One last question, I've heard cold weather affects the sticks, I was wondering, the weather affects the sound of your drums?

Greetings from Ecuador

[ilikedrums]

Hi ilikedrums

there's so many things going on around 0:56 I can't understand which fill you mean exactly. BUT I can say if there's groups of five then I'm quite confident it will be RLRRL.

cheers
Gavin

I thank you for the input, Sir! That makes sense to me.

The Pattern i meant is (at the end of 0:56): R (15" Floor Tom) LRRL (all 4 on Snare - sounds like a roll).

Often it's played in a classic combination of three: RLRRL RLRRL RLRRLRRL

On the other hand, sometimes it sounds like a group of six; so it would be:

RLRRLL RLRRLL RLRRLRRLL

I will try them these days ;-).
Cheers and best regards!

[Swiss Matthias]

Nice and inspiring interview, great insights Gavin, thank you!

[Phil Brodermann]

Gavin, how are you? Thanks for the book/DVD, I'm enjoying it very much.

How do you tune the bottom head of your toms, compared to the top? Could you give an approximate interval aswell please :)

Thanks a lot, Phil.

[Funnyguy1970]

Hi Gavin..
Just took the GIANT step from beeing an edrummer and bought me an acoustic set (just ordered a 8" rack tom too). Since acoustic drums dont come ready tuned as edrums do I was really curious regarding tuning, found this really hard so here is my question.. How do you tune your drums, do you use a tensionwatch or just "magic touch"?
Thanks for beeing a big inspiration, and i am waiting for your book.. Just been sent from "Burning Shed"..

[Mr. Brownstone]

"FAQ www.askgavinharrison.com" is at the bottom of each and every one of Gavin's posts.

http://www.askgavinharrison.com/tags/30-Tuning/articles

[Dom Chandler]

Hi Gavin,
I received Rhythmic Designs last week and I must say it is really, really good, Hats off to all involved.
My question is not related directly to the Dvd, more something I noticed.
You don't seem to have a S-hoop on your 14" floor?
Have I not seen it clearly? And if you haven't is there a particular reason for this?
Cheers
Dom

[Gavin Harrison]

Hi Crimson Redrum

I have a question, about different grip in both hands, it does affect the balance of the drummer? I think every drummer uses a different grip in both hands as a natural way to hold the sticks and to feel comfortable, but it's a goal to hold your sticks the same way in both hands?

Ideally speaking if you play matched grip - then you should hold the sticks exactly the same way. I probably thought I was originally doing that but it's kind of mutated over the years.

One last question, I've heard cold weather affects the sticks, I was wondering, the weather affects the sound of your drums?

I've never experienced that. What kind of temperatures are you talking about? minus 50?

Hi Phil Brodermann

How do you tune the bottom head of your toms, compared to the top? Could you give an approximate interval aswell please :)

I know that the bottoms are tighter than the tops but I'm not near my drums right now so I can't tell you exactly. They aren't tuned specifically anyway.

Hi Dom Chandler

My question is not related directly to the Dvd, more something I noticed.
You don't seem to have a S-hoop on your 14" floor?

That's because it's a 15" floor tom and I didn't get an S-Hoop for it yet - I think they have only just started making a 15" recently.

Cheers from sunny Brisbane!
Gavin

[Hurlza]

G'day gavin, glad your enjoying being in the country, just curious on a few things, it says porcupine tree and special guests on my sydney ticket. do you have support for the gig and if so who? and also i get into sydney at 5 on saturday i was just wondering what are your up to for the day? itd be awesome if we could catch up at some stage

[wy yung]

Hi Gavin. Welcome to Australia.

I hope it doesn't get too hot while you're here. I heard MUSE nearly died at the Big Day Out.

I'll be coming with 2 of my younger students to the Sydney show. You've been a great inspiration to them so thanks.

I have a question also. How has Sonor been with touring? Do you get what you need? I've heard some bad reports.

Cheers. Wy

[-Ants-]

Hi Gavin,
What are the chances of hearing your toms without any eq'ing so we can hear what you hear when you hit them ,to me you have the best drum sound in the world. Ive watched tuning dvd's and every video on tuning i can find but they never actually sound anything like real drums there always eq'ed to hell i know they have to compress the sound for vids so there of no real help. If i could hear what your drums sound like before Eq'ing it might give me a fighting chance of getting a sound similar to yours on finished recordings cos ive spent months doing an 8th of a turn here and an 8th of a turn there but just cant seem to get the sound im after. any help you give would be greatly appreciated. thanks Ants. p.s. i use emporer coated on top and ambassador clear for reso's and my toms are 12" and 16".

[Gavin Harrison]

Hi Hurlza

G'day gavin, glad your enjoying being in the country, just curious on a few things, it says porcupine tree and special guests on my sydney ticket. do you have support for the gig and if so who? and also i get into sydney at 5 on saturday i was just wondering what are your up to for the day?

The support band in Sydney is "Sleep Parade". I know we've got a busy schedule that day though so I don't have a lot of hope for a meeting - sorry.

Hi wy yung

How has Sonor been with touring? Do you get what you need? I've heard some bad reports.

Sonor have been great to me. These days I usually have one of my kits with me on the road and it's pretty strong so I don't really have any problems with it. If I ever need something they get it to me pretty fast via the local distributor.

Hi -Ants-

What are the chances of hearing your toms without any eq'ing so we can hear what you hear when you hit them. If i could hear what your drums sound like before Eq'ing it might give me a fighting chance,

There's some clips of my drums without eq coming straight off the mic on the camera here..
http://www.drumdepartment.de/content/public/dd-tv_video.php?id=9
http://www.drumdepartment.de/content/public/dd-tv_video.php?id=10

the camera is adding some of it's own compression - but most cameras do but you can hear what the drums sound like from a distance with no eq on.

cheers
Gavin

[-Ants-]

thanks gavin your a true gent,
great interview by the way love your idea on the click,who wants to be counting bars,
ill never get the same sound with pearl exr's but ill give it a good go
cheers again

[Crimson Redrum]

Hi Gavin!!

Thanks for your answers, how do you deal with the relation touring-time zones? how long does it take to feel comfortable? Being a professional drummer it is something you have to deal with, but have you ever experienced a gig where you´re feeling sleepy?

[Dont Taze Me Bro]

Hey there Gavin! Just want to start off by thanking you for taking all the time you have to answer questions for us here! There really is a wealth of information in this thread, I could dig through it for hours haha!

So, I have one question. Any plans to go anywhere near Phoenix, Arizona on the second NA leg of the Porcupine Tree tour? You guys were unbelievable at the Warfield in San Francisco.

I'm also digging the tracks you put down on Ed Poole's new album, you've gotta be one of the tastiest drummers out there! Really dug the modulation bit at about 1:27 in Smoulder, quite creative.

Thanks again, hope to hear from you soon!

[daniele]

Hi Gavin, i've received yesterday "Rhythmic designs". Nice job. Terry Branam is an exceptional transcriber! Now i'll work on it. Thank you!

[krayziemex99]

Gavin just got the book and DVD in today and I must say you and Terry did a phenomenal job. Also I love the variety of watching you play the tracks and trying to "learn" them or playing the drum less tracks will also be a lot of fun to create some drum parts of my own. Anyways keeping it short its a great package man awesome job.

[Deadmeat]

Hi Gavin, I saw you guys in Brisbane tonight. It was a fantasic show.
Just a small question. I have noticed at times you do some improv fills at concerts. When rehearsing for the concert do you practise them there or are they a last minute throw in or how does it work for you?
Thanks again for a top night, it was one of the best quality concerts I have seen and heard is sometime.
Will see you next time your here.

[NeuroAxis]

Gavin -

I had a question about cymbal selection. I know you have used the Z Custom China for a long time; I have been a fan of it for years also. I noticed on Zildjian's website that they have replaced the Z Custom line with the Z3 line, but I couldn't tell if there were any changes made to the design or the sound of the cymbal.

Did you switch over the the Z3 china? If so, have you found it to be much different in sound or physics than the Z Custom china?

It would be good to hear from a fellow appreciator of this underrated cymbal to know whether to go for it or to just buy a Z Custom off of Ebay or Craigslist.

Thanks for your time...

P.S. - Great interview on the drumdepartment site, by the way

[Fox622003]

Hello Gavin,
So I checked out that great article you wrote several years ago about Click Tracks.
And while I noticed this last time I read it, now I'm about to program my own tracks, and need to actually ask. You have it in 16ths for below 80 BPM and 8ths for below 120 BPM? Do you find that comfortable to play to? Because I always try to have as little amount of clicks as I can, mostly Quarter notes, and 8ths maybe for below 70 BPM to have more reference. I mean, eighths for 120 BPM are *a lot* of notes, doesn't it become distracting?
Thanks for all the advice!


Fox.

[Gavin Harrison]

Hi Crimson Redrum

how do you deal with the relation touring-time zones? how long does it take to feel comfortable? Being a professional drummer it is something you have to deal with, but have you ever experienced a gig where you´re feeling sleepy?

It's hard to do something so physically demanding and feeling tired. I've done many gigs where I've felt sleepy or ill. It's not the kind of profession that you can cancel on the day because you don't feel - phone in with ' a sicky'.

Hi Dont Taze Me Bro

So, I have one question. Any plans to go anywhere near Phoenix, Arizona on the second NA leg of the Porcupine Tree tour? You guys were unbelievable at the Warfield in San Francisco.

I don't believe we are.

I'm also digging the tracks you put down on Ed Poole's new album, you've gotta be one of the tastiest drummers out there! Really dug the modulation bit at about 1:27 in Smoulder, quite creative.

Yes Ed's album is great fun - I've just recorded a bunch of tracks for his new album that should come out some time this year.

Hi Deadmeat

I saw you guys in Brisbane tonight. It was a fantasic show.
Just a small question. I have noticed at times you do some improv fills at concerts. When rehearsing for the concert do you practise them there or are they a last minute throw in or how does it work for you?

I try to improvise them when I can. Some of them of course I may have played before.

Hi NeuroAxis

I had a question about cymbal selection. I know you have used the Z Custom China for a long time; I have been a fan of it for years also. I noticed on Zildjian's website that they have replaced the Z Custom line with the Z3 line, but I couldn't tell if there were any changes made to the design or the sound of the cymbal.

Yes I'm a big fan of the original Z Custom. The new one is great but different.

Hi Fox622003

You have it in 16ths for below 80 BPM and 8ths for below 120 BPM? Do you find that comfortable to play to? Because I always try to have as little amount of clicks as I can, mostly Quarter notes, and 8ths maybe for below 70 BPM to have more reference. I mean, eighths for 120 BPM are *a lot* of notes, doesn't it become distracting?

I like it that way round. But it's not to say that everyone would like it.

cheers
Gavin

[steste50]

Hi Gavin,

i got my "Rhythmic Design" copy yesterday (holy Amazon), watched it ALL and it's a like a big cake for drummers :))

1. You recorded your drums in a small room (as i can see and hear from your "boxy" voice) but the drums sound huge anyway. What do you use/do to achieve that sound that do not sound boxy at all (room treatment, effects, diffusers bla bla bla..)?

2. I saw an extra mic on your ride bell: how do you treat that mic with the overheads? Isn't the stereo image affected? Does that mic make a real difference?

3. How much % of your drumming with Ric is improvised in the records i.e. do you plan also all the passages for the recording?

Thanx and come (back) to Italy soon.

[DTrocks]

Hi Gavin!

I was just wondering..what are the name of the headphones you use in your studio at home? If they still are in production today..

Cheers!

[Gavin Harrison]

Hi steste50

1. You recorded your drums in a small room (as i can see and hear from your "boxy" voice) but the drums sound huge anyway. What do you use/do to achieve that sound that do not sound boxy at all (room treatment, effects, diffusers bla bla bla..)?

Space Designer Reverb inside Logic Pro.

2. I saw an extra mic on your ride bell: how do you treat that mic with the overheads? Isn't the stereo image affected? Does that mic make a real difference?

I sometimes want to bring out some detail in the cymbal so having that mic there is useful. If I don't play the ride I don't mix in that mic. I can't hear it upsetting the stereo.

3. How much % of your drumming with Ric is improvised in the records i.e. do you plan also all the passages for the recording?

Usually I work out the rhythms that I want to play for the sections - and then I rehearse it. Once I start to get comfortable with the parts and the arrangement - I try to improvise and embellish on those parts. I don't normally work out the fills - they just happen when I record it.

Hi DTrocks

I was just wondering..what are the name of the headphones you use in your studio at home?

Beyer DT150. They're really good.

cheers
Gavin

[Garrett]

Hey Gavin! I would just like to say that I think it is very cool that you are answering questions. You are my top infuence in drumming.

I think that you are sponsored by Vic Firth, but why haven't you created Signature Sticks? Is it just because they haven't asked you? Because I would gladly buy some.

My second question has to do with your chimes/bells that you hand made. I myself am looking around for cracked cymbals, preferably Zildjian crashes like you have. I understand that you have to cut them, but how exactly did you go about making a rack/stand for them? Could you help me out?

Also I have kind of a funny story. I discovered you guys about a week after you guys left the east coast of the US and I was mad that I missed your tour of The Incident. My dad said he would buy us the best seats if you guys ever came back. And we just recently bought close to front row seats at Radio City Music Hall. For September. I would like to thank you guys for coming back again. I appreciate it. Is there any chance of meeting you guys at all there? Because I would die if I could meet the band and you.

[xxDrummerMikexx]

Hey Gavin !

Can you suggest some techniques for double kick playing i to dont really like the fast16s i like your style more, how can i get tighter and better my timing ?

Cheers.

Mike

[Gavin Harrison]

Hi Garrett

I think that you are sponsored by Vic Firth, but why haven't you created Signature Sticks? Is it just because they haven't asked you? Because I would gladly buy some.

Thanks - but they haven't asked me.

My second question has to do with your chimes/bells that you hand made. I myself am looking around for cracked cymbals, preferably Zildjian crashes like you have. I understand that you have to cut them, but how exactly did you go about making a rack/stand for them? Could you help me out?

If you look back a few pages on this thread we were discussing the Sonor "basic arm" options that I use now. Apart from the Sonor stuff I think you need to have one custom made.

Hi xxDrummerMikexx

Can you suggest some techniques for double kick playing i to dont really like the fast16s i like your style more, how can i get tighter and better my timing ?

I'm really not a 'double bass drum player' you should ask Derek Roddy - he's a great guy and has a thread here too.

Cheers
Gavin

[Hurlza]

G'day gavin great gig in sydney the other night, just wondering have any plans developed re some clinics in australia?

[xxDrummerMikexx]

I realise your not much of a double kick player but like i said i like what YOU do with it as its subtle and sounds great just wanted to know how you practice to get the bursts of 3,4 or 5 so clean and tight,?

cheers

[Jaegervand]

Hi Gavin
Thanks for the inspiration! Melting busy creativity with great groove and taste is not very common. You deserve all the attention:) Also your sound is, to my ear, close to perfect.

To my question. I'm on the marked for a snare. I own and love the Sonor Artist Brass model, but it does not suit everything. I was thinking about a SQ 5*14, the Artist scandinavian birch 5*14 or the black steel 5*14. What shell type/thickness (Sonor) do you generally prefer for a general purpose snare? Have you tried the Artist Scandinavian Birch model (vintage maple)?

[Deadmeat]

Hi Gavin and thanks for the reply earlier,

If I may I have another question, sorry to bother you.
At the Brisbane concert a couple of technical hitches happened, One was the guitar string breaking, and the other looked like something happened with the keyboards in one part of the first set.
My question is, I gather you heard that in your IEM? and if so do you acknoledge it or are you in your on groove (world) and don't think of it?
Because from what I saw you didn't skip a beat or bork in anyway, so I'm not sure if you noticed.
Has something like that ever "thrown you off"?

[jez-]

Hi, I didn't see this question answered before, so I'll ask now.

I'm curious to know do you setup/build your drum kit before a gig or does someone from the band's crew do that? Does this change from band to band? And what about studio sessions, do you have to assemble the kit yourself or is it part of someone else's job?

Thanks for your time.

[Funnyguy1970]

Hi Gavin
I was thinking of bying the Axis double pedals, got a god deal for the "ordinary" pedals (not the longboard one).. Should i reconsider and go for the Longboards..??

[TC_Deibreak]

Were the drums you used to play the intro of "What Happens Now?" hand percussion?If so, what kind?

[Gavin Harrison]

Hi Hurlza

G'day gavin great gig in sydney the other night, just wondering have any plans developed re some clinics in australia?

I couldn't do any this time round.

Hi xxDrummerMikexx

just wanted to know how you practice to get the bursts of 3,4 or 5 so clean and tight,?

I don't really know as I've been trying to play them since 1983. I guess I look for holes in patterns and fills that could accommodate those small groupings - and try to get them in there. The hardest part with playing the bass drum is getting it in time with your hands. http://www.youtube.com/watch?v=NOJOACCcEgE

Hi Jaegervand

I'm on the marked for a snare. I own and love the Sonor Artist Brass model, but it does not suit everything. I was thinking about a SQ 5*14, the Artist scandinavian birch 5*14 or the black steel 5*14. What shell type/thickness (Sonor) do you generally prefer for a general purpose snare? Have you tried the Artist Scandinavian Birch model (vintage maple)?

I prefer wood drums to metal ones - and I usually go for 14x5 size for my main snare. I haven't tried it yet - but I'm sure the Scandinavian birch will be very good. I really like birch wood for snare drums.

Hi Deadmeat

At the Brisbane concert a couple of technical hitches happened, One was the guitar string breaking, and the other looked like something happened with the keyboards in one part of the first set. My question is, I gather you heard that in your IEM? and if so do you acknoledge it or are you in your on groove (world) and don't think of it? Because from what I saw you didn't skip a beat or bork in anyway, so I'm not sure if you noticed.
Has something like that ever "thrown you off"?

Yes I do notice those things - but unless it's a complete disaster - I just keep going because these things sometimes fix themselves very quickly. In Sydney the PA went off towards the end of the concert so we had to stop. Lot's of people were shouting "PLAY A DRUM SOLO" - but it would have been pointless without the PA on...plus I don't like playing drum solos anyway.

Hi jez-

I'm curious to know do you setup/build your drum kit before a gig or does someone from the band's crew do that? Does this change from band to band? And what about studio sessions, do you have to assemble the kit yourself or is it part of someone else's job?

I have my drum tech Jason set my stuff up for me on tour. When I've worked with different artists they've usually supplied me a drum tech from their crew. Most studio session I do these days are from home - and when I go to a external studio it depends how much stuff I'm going to take with me - and if there's budget to have a drum tech there for me. Otherwise I set it up myself.

Hi Funnyguy1970

I was thinking of bying the Axis double pedals, got a god deal for the "ordinary" pedals (not the longboard one).. Should i reconsider and go for the Longboards..??

I can't really advise you because I've never played anything except the longboards. I found that I could get great volume from the longboards that I can't imagine I could from the others. It's fine when you're practising at home - but in a band situation you just tend to play much louder.

Hi TC_Deibreak

Were the drums you used to play the intro of "What Happens Now?" hand percussion?If so, what kind?

It's a small Remo "sound shape" with a spring coming directly from the skin. I don't know if Remo still make it. I double tracked it as a stereo part.

cheers
Gavin

[steste50]

Hello again Gavin.
Referring to your Rhythms Designs dvd I got 3 more questions:

1. The big fat sound of the bass drum disappears in the mix while the other instruments get in (i experienced it directly too: it's incredible how the kick jumps out while listening to a track and cutting down the bass frequencies of the kick little by little!). So.. why we should bother recording with sub's and other artifacts to get it fat anyway?

2. i saw u changed the mike u use from the 10" toms onwards (Sennheiser MD421?): why? what's the difference with the previous ones u were using?

3. what are the big panels u put around the drumset? absorbers? diffusers?

Again thx a lot for your replies and your time.

[Kalma]

hi gavin!!

i've been working with your book for 4 days now and i must say that you really make the songs feel"easy"!
I tried out all transcriptions, and i'm mostly able to keep in time and to play some variations!!!
your dvd explains the patterns really detailed and helps to unterstand them easy!


there is one question: in the song "break" you did a "mic hit" in one fill! was it planned??? why did you do it?


i tried to cut down my sonor artist snare wires to 8 strands now! sounds really incredible!!


thanks for all your help and inspiration!
david

[droveto]

Hi Gavin, just one quick question. You're awesome. :)
I know it's not a question, but wanted to say thanks for your dedication and willingness to share your secrets here with us. See you at Radio City in September.

[mmrico]

Hi Gavin, im from Brasil and love your drum work in all your projects.

I wondering if you could tell me how crash cymbal kit you use on modern drummer 2008.

thanks !!

nice I can talk to you!

best regards!

Rico

[Gus]

Hi Gavin

Just got my copy of Rhythmic Designs and i´m fairly surprised with it, more than i initially had expected.

I´m sure it has been a huge work of transcription and shooting, so congratulations for the good work. Quantity and Quality for sure!!.

Such a deep and honest insight into your drumming, with the discussion of every groove, fill... deserve all my gratitude and praise -and as always will give work to do :-) -.

Just a question about 'Normal' from NR: At the begining of the song when you start to play is a 4/3 polyrhythm? -not quite sure.

Thanks again for the inspiration.

Gustavo

[Gavin Harrison]

steste50

1. The big fat sound of the bass drum disappears in the mix while the other instruments get in (i experienced it directly too: it's incredible how the kick jumps out while listening to a track and cutting down the bass frequencies of the kick little by little!). So.. why we should bother recording with sub's and other artifacts to get it fat anyway?

It all depends on the mix and what else is playing on the track. Sometimes (if there's sonic room) you can use some of the sub frequencies in the bass drum.

2. i saw u changed the mike u use from the 10" toms onwards (Sennheiser MD421?): why? what's the difference with the previous ones u were using?

I preferred the sound of them - especially in the lower toms. They seem to capture the lower frequencies better.

3. what are the big panels u put around the drumset? absorbers? diffusers?

They are old studio diffusers made by a company that I think doesn't exist any more called "AK" Acoustic Kinetics.

Hi Kalma

there is one question: in the song "break" you did a "mic hit" in one fill! was it planned??? why did you do it?

no it was an accidental hit - but it made me laugh so I left it in.

Hi mmrico

I wondering if you could tell me how crash cymbal kit you use on modern drummer 2008.

from my left...

# 16" Oriental China Trash
# 5 Custom-Made Chimes
# 13" K Hi-Hats
# 18" Crash of Doom
# 7" custom crash bell
# 9" custom crash bell
# 15" K Custom Crash
# 20" K Ride
# 18" A Custom Crash
# 12" Oriental China Trash
# 18" Z Custom China

Hi Gus

Just a question about 'Normal' from NR: At the begining of the song when you start to play is a 4/3 polyrhythm? -not quite sure.

not really it's just a bar of 4/4 broken into this syncopation: 4 groups of 3/16 + 4/16

cheers
Gavin

[JeffV71]

Gavin,

I wanted to congratulate you on the release of Rhythmic Designs. I got my copy (signed) and I've really been enjoying the video and transcriptions. Both you and Terry should be proud! Thanks so much for giving us drummers a way to expand our education with your insight and approach to drumming. Growing is learning and you've provided a great vehicle for that! They say humans only use about 10% of our brain during our entire lifetime. I think Rhythmic Designs might increase that statistic in us all!

My question: Do you ever reach a point as a drummer/musician to where you can listen to recordings you have done without turning on the "technical listening" side of yourself? Can you simply listen to it for what it is and enjoy it without critiquing it?

Thanks

[jez-]

I have my drum tech Jason set my stuff up for me on tour. When I've worked with different artists they've usually supplied me a drum tech from their crew. Most studio session I do these days are from home - and when I go to a external studio it depends how much stuff I'm going to take with me - and if there's budget to have a drum tech there for me. Otherwise I set it up myself.

Alright, thanks for your reply. It would be nice to know if you had to instruct or "train" your drum tech to set up your kit? Because I know that a drummer wants his kit to be exactly right, not almost right. :)

[gymvideo]

Hello gavin,
Two questions:
any news about the drum clinic in italy?
there will be a second european tour for the incident?

Thank you for the availability

[Gavin Harrison]

Hi JeffV71

Do you ever reach a point as a drummer/musician to where you can listen to recordings you have done without turning on the "technical listening" side of yourself? Can you simply listen to it for what it is and enjoy it without critiquing it?


Yes I can listen to it without focusing on what I did and just enjoy the music.

Hi jez-

It would be nice to know if you had to instruct or "train" your drum tech to set up your kit? Because I know that a drummer wants his kit to be exactly right, not almost right. :)

I think it''s quite easy to build my set. Almost everything is on the rack including most of the mic stands - and they are all marked clearly and have memory locks. There's a mat that the whole thing sits on - so all the legs of the rack and other stands are marked on the mat. I didn't really need to show Jason how to do it. He took some notes about what the order of the cymbals are and after that he set it up perfectly. I insist on changing all my own skins though.

Hi gymvideo

any news about the drum clinic in italy?
there will be a second european tour for the incident?

I'm sorry but I don't have news about any of these things. No plans at the moment.

cheers
Gavin

[Fiery]

Hi Gavin,

Regarding Axis pedals, have you tried out the new A21 design? It should supposedly offer more power than the standard longboards, and since you are one of the rare people I've heard of who get more power from Axis than other pedals, I wonder what are your thoughts on the new design.

Thanks for your time!

[iwantmemoney]

hey! you're such a great drummer, yet you've said that possibly your technique isn't perfect, and that you tend to hold the sticks toward (or right at) the back end. i have seen the value and purpose of doing exactly that, especially for being able to deliver at a high level, either recording or performing- there is a lot of speed and control with minimal wear on the hands.
if you had time to work, without the demands of constant playing, do you think there is the possibility you could achieve all the finesse and power that you have with your current grip, by moving the hands up a little, and perfecting it? thanks for being so accessible, but i don't mind if you don't answer this- mostly i am just thinking out loud and working things out in my own personal "drummerworld".
thanks for the great, great inspiration.

[Dont Taze Me Bro]

Hi Dont Taze Me Bro

So, I have one question. Any plans to go anywhere near Phoenix, Arizona on the second NA leg of the Porcupine Tree tour? You guys were unbelievable at the Warfield in San Francisco.

I don't believe we are.

I'm also digging the tracks you put down on Ed Poole's new album, you've gotta be one of the tastiest drummers out there! Really dug the modulation bit at about 1:27 in Smoulder, quite creative.

Yes Ed's album is great fun - I've just recorded a bunch of tracks for his new album that should come out some time this year.


cheers
Gavin


Thanks for the reply Gavin! Thats great news about Ed Poole because I really like all the tasty stuff you contribute to his music.

One more question if you don't mind - What kind of set list does Porcupine Tree do at big festivals? Just a typical set or any changes with accessibility in mind? I'm just curious because I'm going to volunteer at Coachella in April so I'll be able to see you guys again!

Oh and I just got your new book a few days ago. I was downright baffled at how much content that was included..Really interesting to learn how you came up with all of these thoughtful parts too. Great job and congrats to you and Terry!

[linus]

Hi Gavin,

just got the Rhythmic Designs DVD. I also bought the mp3's of "Drop" and "Circles".
Very inspiring drumming and a real challenge ....

Are there any plans to release other play-along tracks from these recordings?
It think it is a "little" easier to play this stuff when there is music to practice with.
People like me are willing to pay for this ... :)

I am really interested in "for lack of", which is my favourite song at the moment, "faith"
and "crisis" are also favourites.


All the best...

[Stunan]

Hey Gavin,

Just like to say that I've been playing for 9 years and I've been on a plateau for about 4-5 months then I stumbled across yourself and your music on youtube about 3 weeks ago. Your drumming with PT and your new book have really inspired me creatively and I like to say thanks for helping me get the ball rolling again!

My question: I use a 24"x18 bass drum, it sounds amazing but the only problem with it is lugging it around to gigs every other week (I drive an old shape ford fiesta you know what I mean?) and I'm only 5"6 so the Toms are pretty high for me too. Do you have any experience getting great punchy sounds out of say a 20x20 bass drum?

Also what tips do you have about beater placement against the head because some people say its better to stike the centre, other people say strike just above the centre of the head?

Regards

[Gavin Harrison]

Hi Fiery

Regarding Axis pedals, have you tried out the new A21 design? It should supposedly offer more power than the standard longboards, and since you are one of the rare people I've heard of who get more power from Axis than other pedals, I wonder what are your thoughts on the new design.

I don't know anything about them. I better ask Derek Roddy about them quick. I don't quite understand what you mean by "rare people who get more power"? All you need to do is angle the beater right back - tighten up the spring and play it half way down the board - you'll get plenty of power like that.

Hi iwantmemoney

if you had time to work, without the demands of constant playing, do you think there is the possibility you could achieve all the finesse and power that you have with your current grip, by moving the hands up a little, and perfecting it?

Quite possibly. I always think my technique could be better.

Hi Dont Taze Me Bro

What kind of set list does Porcupine Tree do at big festivals? Just a typical set or any changes with accessibility in mind? I'm just curious because I'm going to volunteer at Coachella in April so I'll be able to see you guys again!

It depends on how long our time slot is - and what kind of festival it is. Some songs work better in some conditions than others. Sometimes we leave out the really long songs at festivals or only play part of them.

Hi linus

just got the Rhythmic Designs DVD. I also bought the mp3's of "Drop" and "Circles".
Very inspiring drumming and a real challenge ....
Are there any plans to release other play-along tracks from these recordings?

Thanks - glad you're enjoying it. There are no plans to release anymore playalongs. With all due respect to Ric and the music that we created for those records - I didn't want them to just be drum educational material. They weren't written for that purpose.

Hi Stunan

My question: I use a 24"x18 bass drum, it sounds amazing but the only problem with it is lugging it around to gigs every other week (I drive an old shape ford fiesta you know what I mean?) and I'm only 5"6 so the Toms are pretty high for me too. Do you have any experience getting great punchy sounds out of say a 20x20 bass drum?

It depends on the kind of music you're playing. Personally I wouldn't get a bass drum so deep as 20"...are you sure you could fit that in a Ford Fiesta? I think you're going to hear a huge difference going from a 24" down to a 20". How about a 22x16?

Also what tips do you have about beater placement against the head because some people say its better to stike the centre, other people say strike just above the centre of the head?

I tend to hit it above the centre point...but that's more to do with the beater length that I prefer.

cheers
Gavin

[Stunan]

Hey Gavin thanks a lot for the reply, I can actually fit my 24x18 in the car at the moment, just the view out of the back window is pretty much non existent so it's not very safe :( Most of the gigs I play are with rock/alternative bands So I'll take your advice and go to a drum shop and have a listen to some 22x16 and 22x18s and see how they sound.

Also thanks a lot for supplying the play along tracks with the rhythmic designs book it really helps with actually picking up the natural feel for the songs rather than trying to play along with the album versions if you know what I mean? Are there other play along tracks that I can purchase for any of your other tunes with 05ric/PT?

Regards

[mmrico]

Hi Gavin, thanks a lot for the replying my question.

Can you tell me what snare are you using right now? because I know that you lika the 12'' but i dont know what snare you used.

I must say that your snares sound is great and your tecnique is impressive!!

thanks, and when did you come to BRASIL???????????

Porcupine Three have a lot of fans right here!!!

thanks

Best Regards!!

Rico

[sandstrom]

Hi Gavin!

Thanks for the inspiration and the time you put on this forum, it means alot!

I love your drumsound and wonder what microphone-cabels you use in your studio and also the lenght of them?

Regards,
Richard

[osi.3]

Hey Gavin! It's a pleasure to be able to communicate with you on these forums.

I'd just like to thank you for your work Rhythmic Designs, and also ask if there are plans for doing a similar thing for other material you've done, or plan on doing?

-mp

[Gavin Harrison]

Hi mmrico

Can you tell me what snare are you using right now? because I know that you lika the 12'' but i dont know what snare you used.

I use the Sonor SQ2 14x5 Birch and 12x5 Maple.

and when did you come to BRASIL???????????

I came to Brasil in 1994 with the brilliant guitarist Heitor Pereira.

Hi sandstrom

I love your drumsound and wonder what microphone-cabels you use in your studio and also the lenght of them?

OK you've discovered the real secret of my sound. It's all in the cables and the length!!! Very funny.

Hi osi.3

I'd just like to thank you for your work Rhythmic Designs, and also ask if there are plans for doing a similar thing for other material you've done, or plan on doing?

No plans at the moment. Do you have any requests?

cheers
Gavin

[Florian]

Gavin,

Ive seen you 3 times on tour...you are indeed a treat to watch work. I am a regionally touring player and use noise cancelling custom fit earbuds. I know you wear an IEM, which brand do you prefer and for what reasons? I ask because our band is looking for common IEMs and Id like to hear from a touring professional the reasons they chose theirs.

All the best!

Florian

[osi.3]

Well, "Blood" was the recording of the year for me, thanks to you, "The Incident" a close second. Perhaps a look at the inspiration and execution for some song parts on both? The complexity of those songs may not come close to your work with O5Ric, but then perhaps King Crimson material could balance things out. Of course I could just be dreaming out loud, heheh. -mp

[Terry Branam]

Hi osi.3

I'd just like to thank you for your work Rhythmic Designs, and also ask if there are plans for doing a similar thing for other material you've done, or plan on doing?

No plans at the moment. Do you have any requests?


Hey, you know I'm in!!

Don't give me any bright ideas.....Ha!


Terry

[sandstrom]

Hi sandstrom

I love your drumsound and wonder what microphone-cabels you use in your studio and also the lenght of them?

OK you've discovered the real secret of my sound. It's all in the cables and the length!!! Very funny.


Gavin, man, I am serious!! I study musicproduction at a University here in Sweden and we had a cable test a while ago. We were all chocked about the difference in sound between different cables. We all agreed that they affected the sound much more then for example changing pre-amps. So can you please tell me what you use?

Thanks!
/Richard

[fugazi]

Hey Gavin,

You're known as a pretty creative drummer. But when i'm playing the drums, and really getting into it, in a sort of flow like moment, I tend to play the same beats and fills automatically. Ever had that problem, or do you have tips to get rid of that.

Another question, somewhat related to the first one. How do you 'build' you beats? Is it pure improvisation or do you really work the beat or pattern that you are going to use out on paper or in your head? Same with fills/licks..

thanks

[Fiery]

Hey Gavin,

Thanks for your response...
I don't quite understand what you mean by "rare people who get more power"? All you need to do is angle the beater right back - tighten up the spring and play it half way down the board - you'll get plenty of power like that.
I have not had the chance to try any Axis pedal unfortunately, but the fact is that most people who've shared their experience with me either felt a loss of power, or noticed no change in that department. For whatever reason, you are one of the very few that I've heard talk about an increase in power and volume when using Axis pedals.
I do believe it's possible to get plenty of power from them, but still many seem to have a problem with it. In fact, the "21 degrees forward" design of the new Axis pedals is in part a response to complaints of them being too light. In any case, I'm looking forward to hearing your impressions once you've had a chance to try them out.

Thanks for your time!

[Fox622003]

Gavin, man, I am serious!! I study musicproduction at a University here in Sweden and we had a cable test a while ago. We were all chocked about the difference in sound between different cables. We all agreed that they affected the sound much more then for example changing pre-amps. So can you please tell me what you use?

Thanks!
/Richard

Maybe he was serious too ;)?

Oh and Gavin, on the IEMs, don't they ever slip? Because after two or three songs, mine usually start slipping off inside my headphones (because that's when I start to sweat), and I have to play a few bars with one hand to put it back in, at least once in EVERY song after the first ones.


Regards, Fox.

[NeuroAxis]

Maybe he was serious too ;)?

Oh and Gavin, on the IEMs, don't they ever slip? Because after two or three songs, mine usually start slipping off inside my headphones (because that's when I start to sweat), and I have to play a few bars with one hand to put it back in, at least once in EVERY song after the first ones.


Regards, Fox.

I use M-Audio IE-10s and I used to have the same problem. But most IEMs allow you to reverse them (as in left earpiece in right ear and right earpiece in left ear) and wear them upside down. This allows the cable to go over you ear and have some give so they are not constantly being tugged out of your ears while you are playing.

[BrianMusson]

Gavin,

Aside from rudiments, coordination and mental exercises, what sorts of weight training/cardio vascular exercises do you do?

Also, if i could make a suggestion for your next DVD. I think it would be beneficial to have a cd with your songs, minus the drum track (maybe substitute the drums for a upbeat and downbeat accented metronome and have the same track available without the click?) which we can upload to our ipods and jam along to. Like you mentioned before it's not important that we play as you do verbatim, but understand the concepts and use your instruction as a tool for developing and building our own styles. Other than that, I own all of your instructional material and I've certainly started putting things in different places than I am used to. Thank you.


Brian A. Musson

[Gavin Harrison]

Hi Florian

I know you wear an IEM, which brand do you prefer and for what reasons? I ask because our band is looking for common IEMs and Id like to hear from a touring professional the reasons they chose theirs.

I have been using Ultimate Ears UE10s - but I've not been so happy with them lately - so I've just ordered a pair of Sensaphonics 3D Ambient.

Hi osi.3

Well, "Blood" was the recording of the year for me, thanks to you, "The Incident" a close second.

both are possible - and Terry Branam is the perfect man for the job. The problem is that I can't make 'play-alongs' of those albums as I don't own the recordings.

Hi sandstrom,

Gavin, man, I am serious!! I study musicproduction at a University here in Sweden and we had a cable test a while ago. We were all chocked about the difference in sound between different cables. We all agreed that they affected the sound much more then for example changing pre-amps. So can you please tell me what you use?

OK well there's a number of different cables. Some say "J Rapco RSMCA balanced line mic cable" others just say "Noiseless Cable". I have about 16 cables from the mics to the desk. On average they are about 3 metres long. Could you upload us a couple of audio samples of a drum being struck through two different mic cables and then we can all hear the difference? What were your ideal cables and length?

Hi Fox622003

on the IEMs, don't they ever slip? Because after two or three songs, mine usually start slipping off inside my headphones (because that's when I start to sweat), and I have to play a few bars with one hand to put it back in, at least once in EVERY song after the first ones.

They don't really slip as they are custom moulds of my ears so they fit perfectly. To have these made you need to go to an audiologist first and have them pour silicone rubber right deep into your ears to make impressions so that the IEM company can then form the headphones around.
I think perhaps what you and NeuroAxis are referring to are the generic IEMs that you can just buy off the shelf and jam them into your ears- right?

Hi BrianMusson

Aside from rudiments, coordination and mental exercises, what sorts of weight training/cardio vascular exercises do you do?

I haven't ever really done anything like that until a year ago when I bought a bicycle.

Also, if i could make a suggestion for your next DVD. I think it would be beneficial to have a cd with your songs, minus the drum track (maybe substitute the drums for a upbeat and downbeat accented metronome and have the same track available without the click?) which we can upload to our ipods and jam along to.

have you got the new DVD/Book "Rhythmic Designs"? There are play-along mp3s included in the package.

cheers
Gavin

[MaidenFanSte]

How do Gavin.

I'm trying to incorporate more intricate bass/double bass into my fills. I was just wonder how you approached this when you first started. Any exercises/tip you could share?

Thanks in advance

Ste.

[Florian]

Hey Gavin,

Sorry to bother again, but in your reply regarding your IEMs, Im curious as to what wireless transmitter you use with the Sensaphonics. Do all of the players use the same transmitter?

Thanks for your help and guidance.

Best,
Florian

[Fox622003]

I think perhaps what you and NeuroAxis are referring to are the generic IEMs that you can just buy off the shelf and jam them into your ears- right?


Yep, it seems that it would take some effort to make custom ones, and they are a lot more expensive, but for what you say, they are probably worth it and would solve my issue.
Thanks for the reply!

Fox.

[ChrisGau]

Hi Gavin,

The problem is that I can't make 'play-alongs' of those albums as I don't own the recordings.


do you know David Garribaldi's Code of Funk package? It follows pretty much the same concept you used for Rhythmic Designs, only he issued the DVD in a separate later step. He put the 2003 Tower of Power album "Oakland Zone" as full-band-minus-drum playalongs on the CD which I found astounding and enjoyed very much - nearly as much fun as your Rhythmic Designs package. He even cut out the most important grooves into loops with separated drum tracks

I admit that I also always wondered whether it would be possible to release some of the PT songs as playalongs together with transacriptions (and maybe a few words on the musical background). From what you say I sense that you might be the only band member willing to offer something like that. I could understand that you would not want to publicly discuss the concerns Steve, Richard and Edwin might have. I reckon Steve is worried about gazillions of YouTube videos with drumkids bashing the hell out of their set to a PT song that once was so carefully put together. However, I would like to ask you to let them know, that there are many drumming PT afficionados dreaming of a chance to virtually sit in the PT drum chair and challenge themselves.

At this moment, I only know of one PT playalong ("Sound of Muzak") put together by the German drum magazine "Drumheads" (music minus drums excl. vocals plus transcription). Guess what´s number one of my playalong favourites list on my Laptop.


No plans at the moment. Do you have any requests?


Well, what about Futile? If I remember correctly, this song started as an idea for a clinic anyway, am I correct?

Thanks again for investing so much time in this forum and sharing ideas and thoughts with us. And - before I forget it - your Rhythmic Design package is a great inspiration. It really helps me understanding how to turn intricate drumming into music and how to develope ideas into complex arrangements. Very well done...

[Gavin Harrison]

Hi MaidenFanSte

I'm trying to incorporate more intricate bass/double bass into my fills. I was just wonder how you approached this when you first started. Any exercises/tip you could share?

I've pretty much always thought of double bass drumming as a way to fill in some gaps in fills and grooves. I don't really do the 16ths ostinato thing. Have a look at this video for some explanations to my approach.
http://www.youtube.com/watch?v=NOJOACCcEgE


Hi ChrisGau,

I reckon Steve is worried about gazillions of YouTube videos with drumkids bashing the hell out of their set to a PT song that once was so carefully put together.

We're all concerned about that - but it's already happening - they just play over the album version so you can also hear my drumming underneath too.

Well, what about Futile? If I remember correctly, this song started as an idea for a clinic anyway, am I correct?

Yes you're correct. I guess the only fair way to do it is to re-record the backing tracks with a session band much like the Drumheads version of Sound Of Muzak.

cheers
Gavin

[MaidenFanSte]

Hi MaidenFanSte

I'm trying to incorporate more intricate bass/double bass into my fills. I was just wonder how you approached this when you first started. Any exercises/tip you could share?

I've pretty much always thought of double bass drumming as a way to fill in some gaps in fills and grooves. I don't really do the 16ths ostinato thing. Have a look at this video for some explanations to my approach.
http://www.youtube.com/watch?v=NOJOACCcEgE


Exactly what I was after.
Think I'll try learn that first part.

Thanks.

[facu]

Hi Gavin! At first, congratulations for "The Incident", for me, the best PT album. I've got 2 questions, if you can answer me.

1- At "Way out of Here" from Fear of a Blank Planet, the voice that sings the chorus (Way out, way out of here, fade out, fade out vanish) is Steven Wilson voice? Because i've seen that in live shows is John Wesley who sings this part, and I've the doubt.

2- Will be Porcupine Tree at Spain this year? I couldn't see you in november!

Thank you very much, and sorry for my english!

[steste50]

Hi Gavin,

1. I can see from pix in the Rhythmic Designs book that you hold your famous hand made bells using a Sonor BA12-L arm and a series of BA12-BR ratchets coupled with BA-CH cymbals holders (correct me if I'm wrong of course!). How did you get the BA-CH holders both long and short for the different heights at which the bells are mounted?

2. Your mics seem to be mounted on the rack along with toms and cymbals. Don't you get sympathetic noise from the mics when you hit the drums?

3. Your hihat pedal looks like there's something that can keep the cymbals closed without the foot, am i right? What's that?

4. As far as i understood you use Logic for most of your work. I guess you got many tracks with your drumset: no latency or overload problems when recording? (p/s: i use Pro Tools HD1 to record myself and i have no experience with Logic).

5. I'm really enjoying Drop and Circles: all of my friends ask me "wow, who's playing?"... very nice indeed.

Thanks a lot again,
Ste

[Gavin Harrison]

Hi facu

1- At "Way out of Here" from Fear of a Blank Planet, the voice that sings the chorus (Way out, way out of here, fade out, fade out vanish) is Steven Wilson voice? Because i've seen that in live shows is John Wesley who sings this part, and I've the doubt.

Steve sings it on the record - but John sings it in the live concert.

2- Will be Porcupine Tree at Spain this year? I couldn't see you in november!

We have no plans to at this moment.

Hi steste50

1. I can see from pix in the Rhythmic Designs book that you hold your famous hand made bells using a Sonor BA12-L arm and a series of BA12-BR ratchets coupled with BA-CH cymbals holders (correct me if I'm wrong of course!). How did you get the BA-CH holders both long and short for the different heights at which the bells are mounted?

Yes I got some of the BA-CH cymbal holders threaded all the way down to the bottom of the shaft. Normally they stop about 3cms before they reach the bottom. So the lower three have been altered and the higher two are just normal. Make sense?

2. Your mics seem to be mounted on the rack along with toms and cymbals. Don't you get sympathetic noise from the mics when you hit the drums?

Not that I'm aware of.

3. Your hihat pedal looks like there's something that can keep the cymbals closed without the foot, am i right? What's that?

Tama Cobra Clutch

4. As far as i understood you use Logic for most of your work. I guess you got many tracks with your drumset: no latency or overload problems when recording? (p/s: i use Pro Tools HD1 to record myself and i have no experience with Logic).

I experience no latency because I don't monitor the drums through the computer. I use an analog desk to hear the drums as I'm playing. I set the levels very carefully to avoid overloads - but the Apogee Rosettas also have a 'soft limit' button just in case something goes slightly over at any point.

cheers
Gavin

[steste50]

Hi facu

1- At "Way out of Here" from Fear of a Blank Planet, the voice that sings the chorus (Way out, way out of here, fade out, fade out vanish) is Steven Wilson voice? Because i've seen that in live shows is John Wesley who sings this part, and I've the doubt.

Steve sings it on the record - but John sings it in the live concert.

2- Will be Porcupine Tree at Spain this year? I couldn't see you in november!

We have no plans to at this moment.

Hi steste50

1. I can see from pix in the Rhythmic Designs book that you hold your famous hand made bells using a Sonor BA12-L arm and a series of BA12-BR ratchets coupled with BA-CH cymbals holders (correct me if I'm wrong of course!). How did you get the BA-CH holders both long and short for the different heights at which the bells are mounted?

Yes I got some of the BA-CH cymbal holders threaded all the way down to the bottom of the shaft. Normally they stop about 3cms before they reach the bottom. So the lower three have been altered and the higher two are just normal. Make sense?

2. Your mics seem to be mounted on the rack along with toms and cymbals. Don't you get sympathetic noise from the mics when you hit the drums?

Not that I'm aware of.

3. Your hihat pedal looks like there's something that can keep the cymbals closed without the foot, am i right? What's that?

Tama Cobra Clutch

4. As far as i understood you use Logic for most of your work. I guess you got many tracks with your drumset: no latency or overload problems when recording? (p/s: i use Pro Tools HD1 to record myself and i have no experience with Logic).

I experience no latency because I don't monitor the drums through the computer. I use an analog desk to hear the drums as I'm playing. I set the levels very carefully to avoid overloads - but the Apogee Rosettas also have a 'soft limit' button just in case something goes slightly over at any point.

cheers
Gavin

4. ---> I meant CPU overload (sorry, my fault)

Thx

[pixelbreaker]

Hey Gavin!

I just want to start off by saying that your a huge influence on my drumming and I love your music! Thank you for all of the awesome beats that you bring us.

Secondly, I have a question about the song "Fear of a Blank Planet". Is there somewhere where I can find notation of the crazy drum fill thats about five minutes into the song? I could never figure the time or rhythm of it. That would be awesome!

That's pretty much it. Thanks for reading all of these posts! Have an awesome day!

P.S.---- seeing you guys on April 30th at the Riviera in Chicago! Hope to meet up with you there! Can't wait!

[karan.patil]

Hi Gavin,
Congratulations on The Incident! Brilliant album! I saw you guys play live in Mumbai, India last year in December, great show even though Steven had a few technical issues. I really loved the Russia On Ice/Anesthetize medley. PLEASE play in Mumbai again soon!

I have a question - How do i get the snare to stop buzzing while playing the toms? Some people have told me it's because of the head,and some people are telling me to get rid of a few wires. I don't really know.. and i don't want to risk ruining the snare by careless experiments.

Cheers!

P.S. Oh and this might sound a little stupid, but any tips on countering palm sweat? :s

[Fox622003]

I have a question - How do i get the snare to stop buzzing while playing the toms?

I second the question, Gavin. My snare buzzes only when I play the 10" Tom that's mounted right above it. Only that one, I have a 12" right next to ti, and 14" and 16" floor toms, and none cause ANY buzz at all, but the 10" above the snare does, have you ever experienced anything similar?

Thanks Gavin, Fox.

[Alex P.]

[QUOTE=pixelbreaker;667833]Hey Gavin!

Secondly, I have a question about the song "Fear of a Blank Planet". Is there somewhere where I can find notation of the crazy drum fill thats about five minutes into the song? I could never figure the time or rhythm of it. That would be awesome!
QUOTE]

Hi pixelbreaker,

Here is the fill you're talking about. Terry Branam transcribed it.

Bye

Alex P.

[Orko111]

That Fear of A Blank Planet fill may be my favorite drum fill of all time.

Is there a "trick" to it, Gavin? Was it spontaneous or did you work it out before??

Thank you a again for answering questions here, it´s much appreciated!

[Gavin Harrison]

Hi steste50

4. ---> I meant CPU overload

No I never have had that problem and I'm using a pretty old Mac G5.

Hi karan.patil

How do i get the snare to stop buzzing while playing the toms? Some people have told me it's because of the head,and some people are telling me to get rid of a few wires. I don't really know.. and i don't want to risk ruining the snare by careless experiments.

It's the reason that I originally started cutting my snare wires down to 8 strands. I then discovered that I really liked the sound of that. There's a few reasons why you're getting the snare buzz when you hit the toms. Usually it's the tom that is in close proximity (like Fox622003 is experiencing) and usually it's because the pitch of the tom and the snare are too close. If you turn your snares off and compare the tom and the snare pitch you'll hear what I mean. You have to decide if you want to keep the snare or the tom pitch as it is and then move the pitch of the other up or down. You'll never get rid of all the snare buzz but you can reduce it. Also loosening the 4 lugs that are closest to the snare wires can help a little bit.It can also depend how loose you have the snare wires.
I filmed a whole section about this on my DVD "Rhythmic Designs" as well as my preferred tuning method and how I set up the snare drum.

Hi Orko111 and pixelbreaker

That Fear of A Blank Planet fill may be my favorite drum fill of all time.
Is there a "trick" to it, Gavin? Was it spontaneous or did you work it out before??

Basically it's one of my favourite stickings R L R R L with a double time double hit on the bass drum. If it was just a single bass drum hit it would be a straight cycle of 6 notes. When I was working on that song originally it didn't have any drum break in it and just went straight into the next section. I thought it would be a more exciting transition if there was a drum fill in there and help set up the next section. I think I improvised something very similar to this fill when I was in the demo stage. Then I went back and refined it.

Cheers
Gavin

[karan.patil]

Hi Gavin

That's the problem, mate. There's no way I can get your DVD here in India. I remember looking for months until i finally found the Fear Of A Blank Planet Surround Sound DVD in an obscure little music shop that mainly deals in the mainstream Hindi music here.

thanks!

[jojojojojo]

Hi Gavin,
i just recently ordered your DVD Rhythmic Visions.Its an awesome piece.
Thank you for sharing your ideas.
I just started to learn concepts about modulation,shifting accents and so forth.

You explain it very detailed on this DVD.

Thanks

Greets from Germany

[Gavin Harrison]

Hi karan.patil

There's no way I can get your DVD here in India. I remember looking for months until i finally found the Fear Of A Blank Planet Surround Sound DVD in an obscure little music shop that mainly deals in the mainstream Hindi music here.

yes there may be no distribution of these items in India - however you can buy directly from me via the burning shed website.

http://www.burningshed.com/store/gavinharrison/

cheers
Gavin

[xxporcupinextreexx]

Hi Gavin,

First off, I just want to say something that you've probably heard a billion trillion times by now. You are a *brilliant* drummer. Plain and simple. You've been my favorite drummer since I first heard your work on "In Absentia", and everything you've done since then has been out of this world (absolutely dig the new OSI release, "Blood").

I'm grew up in Mumbai, India, and I've been living in Portland, Oregon for the last several years now. I've heard SW go on record saying that Portland was one of his best gigs, and having heard generally good stuff about the recent Mumbai gig (unfortunately I wasn't visiting India at the time), I feel happy to have connections with both those places! What are your thoughts overall about your first gig in India?

Another question - as you correctly pointed out on your website, it is an ordeal to (a) find a good drummer, and (b) find one with a good recording set-up. I'm not a fan of using loops and programmed drums on the final cut of a CD (been there, done that, don't want to do it again). How do I go about even finding the right drummer? Seems like a bit of a shot in the dark, and mostly luck. Are there resources out there on session drummers? I have an ambitious project in the pipeline, and not being a musician for a living makes it a bit difficult to network, or get noticed. On that note, how do you choose who you work with, and if you would be willing to lend your expertise to someone's tracks?

Cheers, and I can't wait to see you play again. Any plans on visiting the Portland area soon?

[karan.patil]

Hi Gavin,
1.What about shipping? Burning Shed is based in the UK, right? Can you tell me about how long it will take and how much extra is it going to cost for me to have it shipped here?

2.Also, during your studio recording sessions, i have noticed in most of Porcupine Tree albums and your work with Ric, that everyone's playing pretty complex stuff.. Steven, Colin and Ric with their complex guitar melodies, how do you get about finally making a song?

3. In Anesthetize, what are the time signatures for the heavy double bass and the cymbals bit just before the coda?

Cheers

[pixelbreaker]

Hey Gavin,

Thanks for replying! I understand the fill now!

Just one more question. I know someone who knows some other people (lol) that go to just about all of your shows and hang around with you guys before you go on stage... Do you guys usually hang around before shows?


-Branndon (aka pixelbreaker)

[Gus]

[
3. In Anesthetize, what are the time signatures for the heavy double bass and the cymbals bit just before the coda? ]

Hi Karan_Patil,
Search for thread 2775, i think is what you´re looking for.
Greetings

[karan.patil]

Hey Gus,

Please link me to it. I'm a little new 'round here.

cheers

[Orko111]

Thanks for that Gavin,

Like Pixelbreaker I now understand the fill. I had a go at it last night and find that there is big difference between knowing "what" and knowing "how", hehe...

Practice will bridge that gap eventually though.....hopefully....

[Gus]

Hey Gus,

Please link me to it. I'm a little new 'round here.

cheers

Hi Karan.Patil

here you are...

http://www.drummerworld.com/forums/showthread.php?p=497453#post497453

Greetings

[Mister_Firley]

Rythmic Illusions is probably the best DVD I have ever studied from. It has helped me create many of my own "Illusions", and now I can play them to a click! Thanx for all the knowledge u share w/ the world, Gavin. It is greatly appreciated by all of us!


infowars.com

[Mattiadrummer]

Gavin is my favourite drummer now.
I discovered Gavin's drumming in late 95',I'm Italian and he had played whit many Italian Artist.
Maybe now his drumming is different,but I advise you to listen this cd "La forza dell'amore" by Eugenio Finardi
Check the Harrison's discography,you can find very interesting Italian pop tracks whit amazing fills,groove ecc...
Now I live in London,I try to meet Gavin,but is impossible :-(,I hope maybe one day...

[karan.patil]

@ Mattiadrummer,
oi you better not make it a one-on-one thing, yeah? call me too! hehe

[Zildjoe]

Hi gavin!

one question... at the end of the song Cheating the Polygraph from the N.R. album... the one that you do, it sounds really fast.. is it?
How do you do that?

[Gavin Harrison]

Hi xxporcupinextreexx

What are your thoughts overall about your first gig in India?

We had a great time - it really was an experience.

How do I go about even finding the right drummer? On that note, how do you choose who you work with, and if you would be willing to lend your expertise to someone's tracks?

Finding the right musicians to work with can take a very long time. You need to get out there and hear a lot of drummers.

Any plans on visiting the Portland area soon?

Not as far as I know.

Hi karan.patil

1.What about shipping? Burning Shed is based in the UK, right? Can you tell me about how long it will take and how much extra is it going to cost for me to have it shipped here?

Yes Burning Shed is based in the UK but they will ship just about anywhere. Go to their website and ask them. Sorry - but I have no idea how much the shipping costs.

2.Also, during your studio recording sessions, i have noticed in most of Porcupine Tree albums and your work with Ric, that everyone's playing pretty complex stuff.. Steven, Colin and Ric with their complex guitar melodies, how do you get about finally making a song?

I don't quite understand the question. Can you re-phrase it?

Hi pixelbreaker

I know someone who knows some other people (lol) that go to just about all of your shows and hang around with you guys before you go on stage... Do you guys usually hang around before shows?

Not usually. Who are you talking about - are they friends of someone in the band perhaps?

Hi Zildjoe

one question... at the end of the song Cheating the Polygraph from the N.R. album... the one that you do, it sounds really fast.. is it? How do you do that?

It's the same as the start of "Slippin 'Away"

http://www.youtube.com/watch?v=WKCIUpW3q9s

5/8 in triplet 16ths. It is pretty fast and usually my hands are quite tired by the time I reach that point in Cheating The Polygraph

Cheers
Gavin

[pixelbreaker]

Hey Gavin,

I'm not really sure if they are or not. But I think that they call themselves the "Porcupine Tree Followers". I just know that they came to several of your shows during the European tour last year.

-Branndon

[karan.patil]

hi Gavin
I'll explain, what do you do while making a song (in the studio)? do the riffs come first? do you just bang away improvising at the same time, or listen to the song entirely first and then write the rhythms out?

cheers

[Abhishek]

Hi Gavin,

I read that you have used Future Sounds and The New Breed. I've just purchased these books, and want to know how you went about using them.

I do a lot of influence of Future Sounds in your drumming. Is that true?

[huXler]

Hi Gavin!

I've got a question about a fill in the song Anesthetize: At about 12:02 you play a double bass drum/china fill I am not really getting. Could you maybe explain it?
Thanks!

And by the way: Your book is really amazing. It's very impressive to get an insight in your drumming. I'm really enjoying it.

Cheers

[ardavan]

Hey Gavin!
Where is your college of drum?
And, please write for me website college.

Thanks

[Fox622003]

Hi Gavin!

I've got a question about a fill in the song Anesthetize: At about 12:02 you play a double bass drum/china fill I am not really getting.

They are groups of three started on the second 16th of the second beat of that bar. I'm not really sure about the exact drums he uses to fill between the chinas (as in THAT is a tom and THOSE are bass drums), but those are the accents.
Gavin can probably tell you exactly what he's hitting there.


Fox.

[Garrett]

Hey Gavin I have another few questions if you don't mind answering.
These are kind of random however. On PT's "Arriving somewhere..." live DVD the live screenplay videos show a bunch of older photos with an older woman and kids. Do you know exactly if these are real photos? I was just curious.

Also if you don't mind answering some random questions haha.
1. What's your favorite food and drink?
2. Do you have another other talents besides drumming?
3. Do you and PT hang out on a regular basis?

Thanks in advance! Can't wait to see you guys at Radio City Music Hall!

[Chris D]

Gavin,

I studied with Joe Morrelo for a number of years....I wondered if you listened to the time signitures used be them in the early 60's????? and what your opintion was.
He was a wonderful teacher and I gathered alot from him......

Thanks ChrisD

[Gavin Harrison]

Hi karan.patil

I'll explain, what do you do while making a song (in the studio)? do the riffs come first? do you just bang away improvising at the same time, or listen to the song entirely first and then write the rhythms out?

It depends. Some songs start with a drum rhythm - so I record it and then work out guitar or bass riffs to go with it. Some songs start with four of us improvising together and just see what happens. When we find something we like we record it and move on to see if we can write another section that might be compatible with the first one - and so on. Sometimes folks present me with a finished song - so I play along to it and see if I can find some drum patterns that I like and I think compliment the song.

Hi Abhishek

I read that you have used Future Sounds and The New Breed. I've just purchased these books, and want to know how you went about using them.I do a lot of influence of Future Sounds in your drumming. Is that true?

The first exercise in "The New Breed" is excellent. Playing 16ths on the hi hat with both hands (without any flams) and then play the bass drum melodies. It's very helpful to get your bass drum foot in sync with your hands but you really need to be very accurate with it to get the benefit. I still practise that now. I haven't looked at "Future Sounds" in many years but I did enjoy working through it.

Hi huXler

I've got a question about a fill in the song Anesthetize: At about 12:02 you play a double bass drum/china fill I am not really getting. Could you maybe explain it?

Fox622003 almost has it right except there's a flam between the floor tom and the snare drum before each china hit. Everything else about it looks right to me.

Hi Garrett

These are kind of random however. On PT's "Arriving somewhere..." live DVD the live screenplay videos show a bunch of older photos with an older woman and kids. Do you know exactly if these are real photos? I was just curious.

I believe there are.

1. What's your favorite drink?

White Russian.

2. Do you have another other talents besides drumming?

Yes I do Skydiving, Pole Vaulting and Horse wrestling (usually in the same day).

3. Do you and PT hang out on a regular basis?

No we see quite enough of each other on tour thanks.

Hi Chris D

I studied with Joe Morrelo for a number of years....I wondered if you listened to the time signitures used be them in the early 60's????? and what your opintion was.
He was a wonderful teacher and I gathered alot from him......

I'm sure he was a wonderful teacher. I just bought a DVD the other day of Dave Brubeck's group on a TV show in 1961. They play "Take Five" of course and Joe plays a great solo.

Cheers
Gavin

[osi.3]

Hey Gavin,

During your work on "Blood", how did the file exchanging of tracks work? I'm mostly curious about the file types used, was it a simple WAV and MIDI exchange?

[Pass.of.E.r.a.]

Hello Gavin,

I have an upcoming gig where I'll have to play live to a metronome so that I can be in sync with a video. My main concern with this, is the keyboard player has a tenancy to not listen to the tempo that I/the group is playing at (I'm thinking that he just doesn't listen in general). He will typically go off from the tempo of the rest of the band, drop beats etc. without being aware of it.

So if you had any tips to playing live with a metronome in this situation they would be greatly appreciated!

Also what would you do in a situation with a musician like this? I'm only 17 (and the keyboard player in question is well into his forties) so I don't want to come off as the young snob telling everyone what do to when I have very little experience (at least compared to him)...

Thanks for taking time out of your day to help me out!

-Jonathan

[HenryHopkins]

hey gavin

i was on youtube and i came across this awsome cover of the sound of muzak, dont know if you have already heard but here it is http://www.youtube.com/watch?v=poMgzOrbVCI

its brilliant

henry

[SantiBanks]

Hi Gavin,

Thanks for the signed copy of your book! I love it and the dvd is wonderful! Great to have some mp3's with it too.

I have two questions for you. We already talked about the M-audio FW410 you use. I was wondering if you always use it "bus powered" or if you always have the power connected to it (and switch to battery if the power drops)?

And the other one, have you heard Metheny's new album? If not, then I highly recommend it. Not sure if he still tours Europe (and if he'll take his show to the UK) but if you still like his music and have the chance to see him, be sure to check him out! He has a very interesting and very boundary braking project going on called "Orchestrion" where he uses solenoid based instruments as his band. I saw him perform the album and some stuff from his back catalog twice and I was blown away. He did some interesting demonstrations to show what the system was capable of and how it works. Very interesting stuff.
Its very percussion based (as they lend themselves perfectly for good solenoid triggering). I'm curious what you think of his project if you get the chance to check it out.

http://patmetheny.com/orchestrioninfo/
The EPK video on that page gives a good impression of what he is doing with it…

Cheers!
Santi

[ItalianRicky]

Hi Gavin!
how're you?i hope that all be fine to you.
I came with new questions!!! =)
1 -I saw in some videos of 2003\2004 that you still have a splash on your right on your setup.
Seems to be in the same position of your oriental 12" china.
What kind of splash was it?K?Avedis?

the second question is related to the first =)
2 - many years have passed by your last tour with claudio.
But you have recorded with him other albums, example Q.P.G.A.
And with Paolo Gianolio, and others.My question is: do you change your cymbals and sounds if you change the kind of music that you will record?drumsticks too?
I'm asking this because on Paolo Gianolio's "PANE E NUVOLE" i've heared a splash.
But in the last performances with PT i haven't see no one on your setup.

3 (and last!!) - With claudio you've gained a lot of fans here in Italy.You do a lot of gigs, probably the most importanto in front of the POPE.amazing.
You'll never feel nostalgic of thet kind of concerts?or, example, of the FULL OF PEOPLE olympic stadium of Rome?and overall...don't you know that you was the favourite musician of claudio's stage by the womans???i've readed a poll on a fan site and you are the most voted too!another award for you :D :D :D

Thanks a lot for your precious time.
cheers from Italy.
Riccardo

[Fox622003]

Hey Gavin.
What ItalianRicky said is true, what's up with not normally using splashes? Are the bells enough? Because you have 3 or 4 Chinas I think, but no splash to be seen! And since you really like Copeland's work, it doesn't make much sense to me.

Now, to my main question. How do you approach higher tempos? Because I consider songs at 130+ BPM to be too much to really groove them. You know, when you sit at the drums to mess around, a reasonable tempo is 100 BPM, where you can do anything you like, and really groove out. But at for example, 170, I really can't play ANY of the stuff I like, and I don't know how cool the displaced stuff you play would sound at those tempos, it's just too fast. So, getting back on track, when you face a fast song, do you keep it a lot simpler? That's what I've been doing, but maybe there's another approach to this...And related to that, when playing a very displaced fill, do you "synch" the notes with the metronome, or do you ignore it, or hear it only as reference? Because sometimes I have a harder time playing a fill "to" the metronome, so I just play it how how it feels (of course, I do know when the fill resolves, so that's when I start listening to the metronome again), I usually come back in time, but it makes me feel kind of a newbie not being able to play every note TO the metronome, and having to rely on when the fill resolves instead. I hope that last bit wasn't too confusing!

Oh yeah, final one! What weight is your "K Ride" considered? Because I've seen others like "Medium K Ride", "Heavy K Ride", what does it mean when it's just "K Ride" (Or Hi-hats, or anything).

Alright Gavin, thanks a lot!


Fox.

[ItalianRicky]

Hey Gavin.

Oh yeah, final one! What weight is your "K Ride" considered? Because I've seen others like "Medium K Ride", "Heavy K Ride", what does it mean when it's just "K Ride" (Or Hi-hats, or anything).

Fox.
It's a normal K ride.Medium i think ;)
sorry for the unwanted answer!

[steste50]

Hello Gavin,

1. U use Rosetta's for Your AD conversion: is there any reason y u don't use the AD16X instead? (as u got many inputs!)

2. Did u find in your studio experience that different AD converters sound different? (this is something i read on magazines from engineers many times, so i'd like to hear a musician's bell this time)

Thank you very much again.
Ste

[pixelbreaker]

Hello again Gavin,

I have another question... Does PT have any plans on releasing an EP for "The Incident". I'm sure there's tons of stuff that wasn't released with the album...

Cheers

-Branndon

[Gavin Harrison]

osi.3

During your work on "Blood", how did the file exchanging of tracks work? I'm mostly curious about the file types used, was it a simple WAV and MIDI exchange?

Jim uploaded AIFFs for me via his iDisk. There was no MIDI. I then played on the songs and emailed him and Kevin AACs of mixes of the tracks with my drumming on so they could check what I was doing. Finally I posted them some DVD-Rs with the final drum takes on. The file format doesn't matter - it could have been AIFF WAV or SDII. The Mac can handle all of those happily.

Hi Pass.of.E.r.a.

I have an upcoming gig where I'll have to play live to a metronome so that I can be in sync with a video. My main concern with this, is the keyboard player has a tenancy to not listen to the tempo that I/the group is playing at (I'm thinking that he just doesn't listen in general). He will typically go off from the tempo of the rest of the band, drop beats etc. without being aware of it.

I sympathize with your problem - I have played with a lot of musicians who don't listen. But you have to just stay with the click and ignore him. Record the gig so that you can prove to him later that it was his fault...maybe he won't even notice. Do the other people in the band notice that he goes off tempo?

Hi SantiBanks

We already talked about the M-audio FW410 you use. I was wondering if you always use it "bus powered" or if you always have the power connected to it (and switch to battery if the power drops)?

Always bus powered in case there's a small interruption of power.

have you heard Metheny's new album?

No not yet - but he always does high quality stuff so I'm confident that it's really good.

Hi ItalianRicky

1 -I saw in some videos of 2003\2004 that you still have a splash on your right on your setup. Seems to be in the same position of your oriental 12" china.
What kind of splash was it?K?Avedis?

Actually it's not a splash - it's an Avedis 8" EFX - I don't think they make that cymbal anymore.

2 - many years have passed by your last tour with claudio.
But you have recorded with him other albums, example Q.P.G.A.
And with Paolo Gianolio, and others.My question is: do you change your cymbals and sounds if you change the kind of music that you will record?drumsticks too?
I'm asking this because on Paolo Gianolio's "PANE E NUVOLE" i've heared a splash.
But in the last performances with PT i haven't see no one on your setup.

Yes I swap cymbals depending on the music (sometimes I might use lighter sticks if the music dictates it). I don't use splashes anymore - what you heard is a Zildjian custom "crash bell".

3 With claudio you've gained a lot of fans here in Italy.You do a lot of gigs, probably the most importanto in front of the POPE.amazing.
You'll never feel nostalgic of thet kind of concerts?or, example, of the FULL OF PEOPLE olympic stadium of Rome?and overall...don't you know that you was the favourite musician of claudio's stage by the womans??

The only thing I miss is being a favorite of "the womans" !!!!!

Hi Fox622003

What ItalianRicky said is true, what's up with not normally using splashes? Are the bells enough? Because you have 3 or 4 Chinas I think, but no splash to be seen! And since you really like Copeland's work, it doesn't make much sense to me.

I just got really tired of the sound of the splash. I used them hell of a lot in the 80's and 90's and they don't seem to fit in my mind any more.

How do you approach higher tempos? when you face a fast song, do you keep it a lot simpler?

Higher tempos can be a bit of an illusion. Usually the snare drum back beats come more often. If I play a song at 90bpm with 16ths in the right hand on the hi hat - and then play a rhythm at 180bpm with 8ths on the hi hat - it's the same thing - just the snare drum back beats would be coming round twice as much. Mentally it can seem to be exhausting to play 8ths at 180bpm but not so much playing 16ths at 90bpm. When jazz players play at really fast tempos like 320bpm they think at that speed. You easily play quarter notes on a ride cymbal at that speed if you just think at 80bpm. It's the same rate as 16ths at 80bpm but you feel more relaxed thinking at 80bpm than 320bpm.

And related to that, when playing a very displaced fill, do you "synch" the notes with the metronome, or do you ignore it, or hear it only as reference?

Yes I sync the notes to the click even if they are not on the click...if you know what I mean.

Oh yeah, final one! What weight is your "K Ride" considered?

I don't know the weight - it's just called K Ride. I assume it's kind of medium weight. Same with the hi hats.

Hi steste50

1. U use Rosetta's for Your AD conversion: is there any reason y u don't use the AD16X instead? (as u got many inputs!)

Yes it wasn't available 6 years ago when I got the Rosettas.

2. Did u find in your studio experience that different AD converters sound different? (this is something i read on magazines from engineers many times, so i'd like to hear a musician's bell this time)

I don't hear the difference when I work at studios with different converters - but usually they are high quality ones anyway. Years ago I noticed that the Digidesign 888 boxes didn't sound good to me. When I got my first MOTU 1296 I could hear a noise level difference over the ADATs - but that was the jump from 16bit to 24bit. I've tried 96k recording and can't hear any difference at all.

Hi pixelbreaker

Does PT have any plans on releasing an EP for "The Incident". I'm sure there's tons of stuff that wasn't released with the album...

We released everything that we'd developed on the double discs of "The Incident".

Cheers
Gavin

[Kalma]

Hey Gavin,

on "Arriving Somewhere DVD", which Splash did you used?

I saw 2 Splashes above your toms, but I can't see which one..


Can't wait to see you in Sonor Days 2010!!!! =)

All the best
David

[ItalianRicky]

Hey Gavin,

on "Arriving Somewhere DVD", which Splash did you used?

I saw 2 Splashes above your toms, but I can't see which one..

David

thet splashes seems to be a 6 avedis and a 8 K.

[pixelbreaker]

Hey Gavin,

Another question if you don't mind me asking... many of them just keep popping in my head.

I've been looking into some Axis Longboards. I kind of use the same technique as you do- using double bass as a filler for odd times. So, my question is... is it easier to play "speed metal" type bass patterns with them? Since that is something that I would like to learn- just as a reference point.

Cheers

--Branndon

[Kalma]

Hey Gavin,

one more question:
I could get an Pearl DR80 Rack inclusive 9 Clamps and 4 Cymbal Arms for 140€ (very cheap.)

I saw the Rack you're using on the Photos from your Rhythmic Designs Book looks like the Dr80 rack. Is it this rack?
If not, can you (or anybody else) tell me, if I can hang 3 toms (8, 10, 12) on this Rack above the bassdrum?


Thanks!!!
David

[Drizzle]

Hey Gavin

Just wanted to say I really enjoy the Rhythmic Designs package.
Great to see you explain certain grooves in such detail.

Any progress on the double drop clutch?


Greetz,
Dre

[SantiBanks]

Hi SantiBanks
Always bus powered in case there's a small interruption of power.

Thanks for clearing that up for me! Seems like I'm in the race for the M-audio (or maybe the focusrite saffire LE)


No not yet - but he always does high quality stuff so I'm confident that it's really good.
Cheers
Gavin
Oh it certainly is! Very beautiful music. A bit like secret story but this time with an orchestrion. Its mostly big dense piano chords with a lot of vibes, glockenspiel and percussion elements and him on his jazz guitar.
Everything mechanically/solenoid controlled from digital performer. I'm sure you'll like it.

Something I thought about today; I'm a little bit familiar with polyrhythm theory (but still cant play anything else then 3 over 4).
I was thinking, is it possible to play something like 7 over 5 over 4?

[Fox622003]

is it possible to play something like 7 over 5 over 4?

Here's an example of a very basic 7 over 5 over 4 on drums. The Snare is playing 16ths in groups of 7, a bass drum every 5 16ths, and the hi hat on quarter notes. It's not over the top, and you can play those accents in different places to get a nice groove going, also, you could play the 16ths at low tempos with only one hand, leaving you a free hand for comping/improvising.


Fox.

[Gavin Harrison]

Hi Kalma

on "Arriving Somewhere DVD", which Splash did you used?
I saw 2 Splashes above your toms, but I can't see which one..

I think it was a 6" A and the 8" EFX

Hi pixelbreaker

I've been looking into some Axis Longboards. I kind of use the same technique as you do- using double bass as a filler for odd times. So, my question is... is it easier to play "speed metal" type bass patterns with them?

I don't know - you should ask this question to Derek Roddy.

Hi Kalma

I saw the Rack you're using on the Photos from your Rhythmic Designs Book looks like the Dr80 rack. Is it this rack?
If not, can you (or anybody else) tell me, if I can hang 3 toms (8, 10, 12) on this Rack above the bassdrum?

No that's the DR50 in those photos. You should be able to hang those toms from a DR80 as long as you're bass drum isn't huge like 26" or 28".

Hi Drizzle

Just wanted to say I really enjoy the Rhythmic Designs package. Great to see you explain certain grooves in such detail. Any progress on the double drop clutch?

Glad you like it. I'm still thinking about the clutch.

cheers
Gavin

[Abhishek]

Hey Gavin,

Any opinions on how crashable the K 20' Ride is?

[Gavin Harrison]

It's not really crash-able at all.

Cheers
Gavin

[Gus]

Hi Gavin

Do you know about the film 'Lest´s get lost' from the last period of Chet Baker?.
It´s always great to see new material from him, and even in his worst physical shape his musicality is a unique experience.

And by the way, was very funny to me the trick of the big plastic bottle as subwoofer, that you discussed on the chapter of bass drum sound in your last RD. Guess may be efficient too!. I will try it.

Greetings
Gustavo

[SantiBanks]

Here's an example of a very basic 7 over 5 over 4 on drums. The Snare is playing 16ths in groups of 7, a bass drum every 5 16ths, and the hi hat on quarter notes. It's not over the top, and you can play those accents in different places to get a nice groove going, also, you could play the 16ths at low tempos with only one hand, leaving you a free hand for comping/improvising.

Fox.

Thanks for that! I already had an idea that it was possible mathematically. I believe that after 35 bars of 4/4, the 3 patterns will collide right?

[Fox622003]

Thanks for that! I already had an idea that it was possible mathematically. I believe that after 35 bars of 4/4, the 3 patterns will collide right?

Yeah, but it's still not a round number, so if you were playing in a 4/4, standard structured setting, you'd have to play only part of the last groupings, at around, say bar 24, or 32 to end up evenly. Kind of what Gavin does in that double bass section of Anesthetize, where he's playing a groove in three, but in a 4/4 meter, so when he ends it, he doesn't complete one of the cycles in 3, I think.


Fox.

[Pass.of.E.r.a.]

Hi Pass.of.E.r.a.

I have an upcoming gig where I'll have to play live to a metronome so that I can be in sync with a video. My main concern with this, is the keyboard player has a tenancy to not listen to the tempo that I/the group is playing at (I'm thinking that he just doesn't listen in general). He will typically go off from the tempo of the rest of the band, drop beats etc. without being aware of it.

I sympathize with your problem - I have played with a lot of musicians who don't listen. But you have to just stay with the click and ignore him. Record the gig so that you can prove to him later that it was his fault...maybe he won't even notice. Do the other people in the band notice that he goes off tempo?

Cheers
Gavin

Yes and this issue has been brought up before but he always has some excuse, such as "oh it was just a bad day" sort of thing.

We actually have recordings from every past sunday we've played (we're a new-thought church band) up untill about 3 months ago, and I know he's listened to them but their always seems to be an excuse. It is my understanding that the Music Director/Lead singer has brought this issue up with him but nothing has changed.

Oh well, this upcoming gig I was talking about earlier will be at a much bigger venue (seats several thousand) and should be quite fun anyways, thanks for taking time to respond!

-Jonathan

[Hurlza]

g'day kalma,
i have the dr80 drum rack and with my 22" the 3 toms 8" 10" 12" fit easy as

[SantiBanks]

Yeah, but it's still not a round number, so if you were playing in a 4/4, standard structured setting, you'd have to play only part of the last groupings, at around, say bar 24, or 32 to end up evenly. Kind of what Gavin does in that double bass section of Anesthetize, where he's playing a groove in three, but in a 4/4 meter, so when he ends it, he doesn't complete one of the cycles in 3, I think.


Fox.

Or perhaps the intro to unsettled?
Poly's are interesting material to digest. Thanks for your help :)

[Kalma]

g'day kalma,
i have the dr80 drum rack and with my 22" the 3 toms 8" 10" 12" fit easy as

Thanks for the Info Hurlza!
I think I will buy it!!!

[ChrisGau]

And by the way, was very funny to me the trick of the big plastic bottle as subwoofer, that you discussed on the chapter of bass drum sound in your last RD. Guess may be efficient too!. I will try it.


While we are talking about that one..

Gavin,

could you let us know what microphone you put in that bottle?

Today I use a simple T.bone SC 450 (http://www.thomann.de/de/the_tbone_sc450.htm) (china import stuff distributed by the German online shop Thomann under their own brand name) to record the resonant side of the bass drum which yields reasonable good results. Actually I planned to build my own "Yamaha Subkick" type of microphone by using an old 10'' tom and a similar type of loudspeaker. However, now that I became aware of the idea that you got from the sound engineer you mentioned in "Rhythmic Designs", that looks interesting to me as well. The only thing that seems a little bit ugly are these Mini-XLR connectors lavalier microphones always seems to have (usually to connect it to remote units). Did you use a converter to connect it to your recording input?

Best regards,
Christian

[Gus]

Something I thought about today; I'm a little bit familiar with polyrhythm theory (but still cant play anything else then 3 over 4).
I was thinking, is it possible to play something like 7 over 5 over 4?

Hi Santi

In Gavin´s book 'Rhythmic Perspectives' there´s a whole chapter about 'polyrhytmic theory' where you can find the examples that you asked. Adittionally with mp3s. Good stuff to work.

Greetings
Gustavo

[THRAK]

Yeah, but it's still not a round number, so if you were playing in a 4/4, standard structured setting, you'd have to play only part of the last groupings, at around, say bar 24, or 32 to end up evenly. Kind of what Gavin does in that double bass section of Anesthetize, where he's playing a groove in three, but in a 4/4 meter, so when he ends it, he doesn't complete one of the cycles in 3, I think.


Fox.
Gavin does a nice job explaining that section of "Anesthetize" in this interview:

http://www.drumdepartment.de/content/public/dd-tv_video.php?id=10

Skip to 10:35.

[Fox622003]

Gavin does a nice job explaining that section of "Anesthetize" in this interview:

http://www.drumdepartment.de/content/public/dd-tv_video.php?id=10

Skip to 10:35.

I know how that part goes, that's why I brought it up! Thanks anyway, that's a good interview.

Anyway, what's the cymbal over your Z Custom China? Because it doesn't appear on your Wikipedia article. Another prototype "Crash Bell"?, and how is it mounted?, because I can't quite figure it out (looks like the the top of that stand has an extension for that cymbal or something). Is the setup there the one you used for Rhythmic Designs, or is it even *more* current? Because I think you are using your Crash of Doom on Rhythmic Designs, yet it's no longer in the Wiki. Same with a 16" (I think) K or K Custom crash you use both in Rhythmic Designs and Modern Drummer 2008.
Thanks Gavin, a lot of the answers you've provided to the metronome, and playing to it have been real useful.


Fox.

[Hurlza]

no worries kalma, yeah i would its a great rack no matter what people say about it being the "cheap" rack i have a kit like gavins but with hanging floor toms and it holds up no sweat

[HenryHopkins]

hey gavin

this is a tuning question, i love the sound of your snare and was wondering how you get, eg type of snare wires, tuning for top and bottom heads etc

thanks
henry

[Sol Good]

hey gavin

this is a tuning question, i love the sound of your snare and was wondering how you get, eg type of snare wires, tuning for top and bottom heads etc

thanks
henry

http://www.askgavinharrison.com/tags/21-Snare/articles

[kenneth]

Hi Gavin!

I absolutely love your music!
What is your thoughts about bass drum sizes? What are your opinions about a 24" bass drum versus a 22" (any thoughts about depth as well?)?
It would be great if you could elaborate your thoughts about this "issue".

Thank you.
Kenneth

[Trains']

Hey Gavin,

i was curious if you recorded the incident with a click? As if was there also a click a FOABP and the Nil Rec.?
And im intrested in your gen. feeling about click and groove as i heard Ndugu say he feels more free in grooving while rest on the click

All the Best,

[Gavin Harrison]

Hi Gus

Do you know about the film 'Lest´s get lost' from the last period of Chet Baker?.
It´s always great to see new material from him, and even in his worst physical shape his musicality is a unique experience.

yes I've had that film on VHS for a very long time - I love it. I recently bought "CHET" on the Keepnews collection. Chet Baker with Bill Evans on piano - what a dream combo!!

ChrisGau

could you let us know what microphone you put in that bottle?

DPA 4061

The only thing that seems a little bit ugly are these Mini-XLR connectors lavalier microphones always seems to have (usually to connect it to remote units). Did you use a converter to connect it to your recording input?

yes it has to have a special power unit to drive it. If you plugged it straight into a desk and sent normal phantom power to the mic - it would blow up.

Hi Fox622003

what's the cymbal over your Z Custom China? Because it doesn't appear on your Wikipedia article. Another prototype "Crash Bell"?, and how is it mounted?, because I can't quite figure it out (looks like the the top of that stand has an extension for that cymbal or something). Is the setup there the one you used for Rhythmic Designs, or is it even *more* current? Because I think you are using your Crash of Doom on Rhythmic Designs, yet it's no longer in the Wiki. Same with a 16" (I think) K or K Custom crash you use both in Rhythmic Designs and Modern Drummer 2008.

Yes it's another custom "crash bell" mounted on a DW extension arm. I'm quite often changing the odd cymbal here and there in my studio and live setup - so it's impossible to keep the wiki page exactly correct at all times.

Hi kenneth

What is your thoughts about bass drum sizes? What are your opinions about a 24" bass drum versus a 22" (any thoughts about depth as well?)?

It's been a long time since I owned a 24" bass drum. I used have a double kick Gretsch kit back in the early 80's with two 24s. They didn't sound good to be honest. I prefer a 22 x 16" or 17". I have played 22x18 but I can't hear the difference from the 22x16 in a mic'd situation. Depending on your setup and the things you're trying to articulate on the drum - a 24" would be harder work than a 22".

Hi Trains'

i was curious if you recorded the incident with a click? As if was there also a click a FOABP and the Nil Rec.?
And im intrested in your gen. feeling about click and groove as i heard Ndugu say he feels more free in grooving while rest on the click

All the PT albums that I played on were to a click...there wasn't even an option to do any of them without a click. We record separately so it would be near impossible to do.I understand what Ndugu means - it takes away the responsibility of holding the tempo - and if you're very used to playing with a click - you can lean on it.

cheers
Gavin

[Ramtin HajatDoust]

Hi
Mr. Harrison

Thank you for your info regarding EV N/D 468 and Sennheiser MD421, but MD421 is too big for my drumkit with many cymbals and expensive for me. I have used two Audix D6 and one i5 on my bass drum and three Audix i5 on my snare drum. I love D6 for deep and great low end and i5 for great bright natural and attack sound. I do not purchase microphones for my tom toms until now because I do not know which one can give me natural and deep sound. (ND468, opus 88, Beta 98DS, D2, D4 …)
Would you please advise me about this matter?

Thank you.
Ramtin
Tehran - Iran

[ItalianRicky]

Hi gavin!
Have you used in past K custom fast crashes?what do you think about it?

Last week i bought a 12x5 sonor delite maple snare.
Some advices for tuning?i wanna play it as a main snare for gigs in little pubs and bar :D

thanks!
Cheers from Italy

[steste50]

Hi Gavin,

I play 13" K HH and i love its sound but i always suffered a little of its excessive body: you got too much of a low freq going on and, to me, it sounds too much of a motown like hat (p/s i play in a very small room). I recently bought a 13" mastersound HH (the bottom hat has "waves" on the edge) and, surprisingly, putting the bottom hat of the mastersound and the top hat of the K i found that that heavy feel disappeared, making the new combination a fresher sound w/o losing the original character.

Have you ever experimented pairing different HH? Did u find any advantages and/or discover new possibilities?

Thank You very much,
Ste

[Fox622003]

Hey Gavin, I know you are not very fond of the Voodoo Fest videos, but there's an interesting...thing you do here http://www.youtube.com/watch?v=xzfzMPZDlsQ at about 7:35. Is that from Gadd? Because I remember seeing Gadd or someone teaching how to play it on YouTube years ago, and it sounded very similar to what you're doing. In any case, I think they are groups of five and they are 32nd notes, right? I'm just not sure about the sticking and how you split the hits between the hi hat and snare.
Thanks Gavin!


Fox.

[CareyCopelandCameron]

...Your favorite drink is a white-russian?

I love it,too and that rug really tied the room together,didnt it? ;)

Have a nice day Gavin!

[Heitor]

Hi Gavin,

I've seen your body of work and noticed how many italian artists have you worked with before... On a Vic Firth interview you also mentioned how you played in a hotel in Switzerland...

Anyway, I was wondering what is your experience of working with people from other countries and do you have any tip and/or advice for someone like me, who might be open about working for people in other countries?

Still hoping for news of a Latin American leg of the PT Tour!

God bless ya,
Heitor.

[pixelbreaker]

Hey Gavin,

I have yet another question... At about 6:47 of Anesthetize, when your playing the open- close hi-hat stuff and the snare is on every beat 3, how do you you coordinate the bass drum with the open-close hi hat stuff? Is it something that comes naturally where you can just do it? I find it hard to close the hat that fast and play the bass drum grove at the same time... hope this makes sense... lol


Cheers

-Branndon

[Gavin Harrison]

Hi Ramtin HajatDoust

Thank you for your info regarding EV N/D 468 and Sennheiser MD421, but MD421 is too big for my drumkit with many cymbals and expensive for me. I have used two Audix D6 and one i5 on my bass drum and three Audix i5 on my snare drum.

I would easily recommend the EVN/D 468 - they sound great and are a good size for fitting around a complex setup. I use them in my live setup with Porcupine Tree. I'm curious why you have three Audix i5's on your snare drum?

Hi ItalianRicky

Have you used in past K custom fast crashes?what do you think about it?

Yes I have an 18" one and it's really nice - but I prefer the longer sounding crash these days.

Last week i bought a 12x5 sonor delite maple snare. Some advices for tuning?

tune it higher than your highest tom. Bottom head higher than the top head. It should sound great.

Hi steste50

I recently bought a 13" mastersound HH (the bottom hat has "waves" on the edge) and, surprisingly, putting the bottom hat of the mastersound and the top hat of the K i found that that heavy feel disappeared, making the new combination a fresher sound w/o losing the original character.
Have you ever experimented pairing different HH? Did u find any advantages and/or discover new possibilities?

I have experimented with combining different cymbals for hi hats - and sometimes you can find something interesting. I'm not crazy about the rippled waves on the bottom cymbal. It's a sound I struggle to work with.

Hi CareyCopelandCameron

I that rug really tied the room together,didnt it? ;)

sorry - you lost me there.

Hi Heitor

Anyway, I was wondering what is your experience of working with people from other countries and do you have any tip and/or advice for someone like me, who might be open about working for people in other countries?

Musicians are the same the world over - they want to play and want to express their personalities. Even though you may not be able to speak with them directly through language - you can easily communicate on a much deeper level with music. I understood a lot about peoples character when I played with them.

Still hoping for news of a Latin American leg of the PT Tour!

me too.

Hi pixelbreaker

At about 6:47 of Anesthetize, when your playing the open- close hi-hat stuff and the snare is on every beat 3, how do you you coordinate the bass drum with the open-close hi hat stuff? Is it something that comes naturally where you can just do it?

You mean when the snare is on 2 & 4 ? When I play that rhythm the hi hat foot is closing the hi hat on all the "&" beats in the bar. It's just a matter of coordination to then play syncopated bass drum patterns against it. You should try working through some popular bass drum patterns with the hi hat foot pumping 8s, 4's, "&'s". A surprisingly hard one is to play a samba bass drum pattern whilst your hi hat foot is pumping 8's.

Cheers
Gavin

[Abhishek]

Gavin, could you recommend a really trash china from the Zildjian line? Really like what you use during gigs.

[Mike Machine]

Hey Gavin,

Could you tell us what you use to mount your EV N/D 408's? are they pearl mic booms? I have the same mics but would love some better mounting for them,...thanks man

Mike

[Mauriesje]

Hey peoples,

In the MD issue of jan 09 with the GH cover story, on pp 49 it can be seen that his setup is built on a puzzle-piece-like carpet (or whatever it is)...

Anyone any idea what it is, and if so, where it can be purchased?!?

Ltrz,
Mauriesje

[pixelbreaker]

Hey Gavin,

Yes, I did mean 2 and 4... sorry, it was really early in the morning... lol... thanks for the reply....

[CareyCopelandCameron]

Hi CareyCopelandCameron

I that rug really tied the room together,didnt it? ;)

sorry - you lost me there.



Sorry Gavin,I was just joking :)
That was just some quotation of "The Big Lebowski"...
http://slyoyster.com/wp-content/uploads/2008/12/lebowski.jpg

Wish you a nice day!
Chris

[osi.3]

Hello again Gavin! I'm trying to figure out what the best interface between Logic and the drum mics would be. I've had Logic Pro 8 for over a year now, however, I never tried recording drums with it. I have this old KORG D1600mkII that's served me well, so ideally I'd like to be able to record on both simultaneously, if that is possible. I just don't know what a good investment would be for signal routers. Any input is greatly appreciated.

As always, an honor to converse with you. =)
-mp

[Gavin Harrison]

Hi Abhishek

could you recommend a really trash china from the Zildjian line? Really like what you use during gigs.

It depends how big you want it. I really like the Zildjian Oriental China Trash line. I use a 16" and a 12".

Hi Mike Machine

Could you tell us what you use to mount your EV N/D 408's? are they pearl mic booms?

Yes on my setup at home I still have the old Pearl mic boom arms. With PT I just use the top of an old mic stand that's been cut down and mount it off the rack with the PCX200 clamp.

Hi Mauriesje

In the MD issue of jan 09 with the GH cover story, on pp 49 it can be seen that his setup is built on a puzzle-piece-like carpet (or whatever it is)...Anyone any idea what it is, and if so, where it can be purchased?!?

It's a home gym exercise floor mat. You can find them in sports shops or department stores.

Hi osi.3

I'm trying to figure out what the best interface between Logic and the drum mics would be. I've had Logic Pro 8 for over a year now, however, I never tried recording drums with it.

There's a lot available that do just that. It depends on your budget really and how many mics you want to plug into it. I'm using two Apogee Rosetta 800s so I can record 16 channels of drums - but it requires a desk to handle the mics and pass on the signal to them - and a PCI card. Some of the interfaces you can plug the mics directly into them. If you don't need something as big as that you could try the MOTU 828.

cheers
Gavin

[osi.3]

Thanks for the information! The Apogee Ensemble is exactly what I'm looking for. -mp

edit: What do you mean when you say "it requires a desk to handle the mics and pass on the signal to them" (meaning the Rosetta 800s)? I suppose there's another piece of equipment involved?

[Heitor]

Hi Gavin!

How much dampening do you use recently, especially on the snare? For an example, on the Rhythmic Designs DVD. You talk about the zero rings but throughout the DVD I don't see them in action. Or in a Porcupine Tree situation (studio or live), how do you deal with the harmonic ringing on the snare? Do you ALWAYS use the zero rings or gaffer tape or something like that? Because no matter how much careful I am with tuning the snare drum, when it comes the time to record something, it always rings too much and I have to use some dampening, especially Moongels.

Second, do you have any plans of doing something like the latest book/DVD package but with Porcupine Tree songs? Perhaps showing how to approach drum parts and fills in a more straight setting like rock, progressive, metal or pop...

Thanks for the everlasting inspiration you work gives me!
Heitor.

[Dane777]

Hey Gavin,
I have two questions.

1. How do you get your ghost n grace notes heard at a live venue so clearly. At my gigs I don't think they can be heard to well. It sounds more like a fuzz/buzz. What factors do I have to look at in order to achieve clear articulation on my snare in a live environment.


2. When the band or Steve introduces a new song to you, what is usually the first step you take in putting your name on it, drum wise. What approach works best for you on most occasions when contributing your drum parts to a song?

Faithfully,
Dane.

[Padman77]

Hi Gavin,
I have a question about your great new DVD: In the section Discussions - Bass Drum you talk about a piece of wood at the front head. I understand the function of the wood, but I can not imagine how it looks like and how you anchor it inside the bass drum.
Also I have two general questions: Do you think that the sticks you are playing at the moment are the perfect sticks for you, or if you could create your own stick, would you change something, maybe weight, tip or else? And how do you know at which size do you have to cut down your broken cymbals, so that they fit together, or do you just try it out?
Thank you very much for answering, I really appreciate it!


(I apologise for my English, but it is not my first language)

[Gavin Harrison]

Hi osi.3

What do you mean when you say "it requires a desk to handle the mics and pass on the signal to them" (meaning the Rosetta 800s)? I suppose there's another piece of equipment involved?

There are no direct mic inputs on the back of the Rosettas. Only a "D" connector which you plug a multi core into. The mics need to go through amps first and then be passed on down the multi core to the Apogees.

Hi Heitor

How much dampening do you use recently, especially on the snare? For an example, on the Rhythmic Designs DVD. You talk about the zero rings but throughout the DVD I don't see them in action. Or in a Porcupine Tree situation (studio or live), how do you deal with the harmonic ringing on the snare? Do you ALWAYS use the zero rings or gaffer tape or something like that?

With my 14" snare drums I always use a zero ring or two. The 12" snares I tend to just place a tiny loop of gaffa tape on.

Second, do you have any plans of doing something like the latest book/DVD package but with Porcupine Tree songs?

Not at the moment - but it is in the back of my mind.

Hi Dane777

1. How do you get your ghost n grace notes heard at a live venue so clearly. At my gigs I don't think they can be heard to well. It sounds more like a fuzz/buzz. What factors do I have to look at in order to achieve clear articulation on my snare in a live environment.

I use Puresound snare wires cut down to just 8 strands in the middle - and they are on pretty tight. There's also a mic underneath the snare drum for picking up that detail.

2. When the band or Steve introduces a new song to you, what is usually the first step you take in putting your name on it, drum wise. What approach works best for you on most occasions when contributing your drum parts to a song?

I just jam along with it at home until I start to find something that I like.

Hi Padman77

I have a question about your great new DVD: In the section Discussions - Bass Drum you talk about a piece of wood at the front head. I understand the function of the wood, but I can not imagine how it looks like and how you anchor it inside the bass drum.

Velcro - or as I believe they call it in the States "Hook and Loop". There's some black "loop" stuck on the drum shell - and then some white "hook" on the ends of the piece of wood.

32430

Do you think that the sticks you are playing at the moment are the perfect sticks for you, or if you could create your own stick, would you change something, maybe weight, tip or else?

I'm pretty happy with the way they are now. I haven't messed around with the possibilities of designing a stick - I couldn't really do that on my own. To be honest nobody has ever asked me.

And how do you know at which size do you have to cut down your broken cymbals, so that they fit together, or do you just try it out?

With the ones that I've cut - they've usually sounded good straight away. If they don't - I just cut them smaller until they do.

cheers
Gavin

[Phil Brodermann]

Hi Gavin, Why is the interior of your kit black?

I thought I noticed on the DVD, but I thought it might be a reflection on the head.

Thanks :)

[osi.3]

Thanks for replying! I'm in the process of building a rehearsal room. Do you know much about sound proofing? I'm curious first if it hinders recordings if there's too much of it on the walls etc., and second, how much surface area of the walls I'm sound proofing will need to be covered, maybe a percentage estimate?

Much appreciation,
mp

[Dane777]

You cut your strands to just 8?
How did you know to do that, and what would you recommend if I'm using a 3x14 free floating maple piccolo snare??

[ChrisGau]

You cut your strands to just 8?
How did you know to do that

If I am allowed to jump in... I just took something similar to this (I think it´s called side cutter) to cut them off...

http://picture.yatego.com/images/43c696c9a02197.9/7006160.jpg

... and something similar to that (a file?)...

http://www.bucher-trockner.ch/images/Feile_thumb.jpg

... in order to not allow the cut off strand to damage your thin resonant head. As I like Gavin's focussed snare sounds, I was pretty happy with the result. It really helped me reducing the snare buzz. Don´t know whether it´s fits to your Piccolo Snare... I applied it to a 14x5 Sonor Delite Snare.

[SantiBanks]

Hi osi.3

What do you mean when you say "it requires a desk to handle the mics and pass on the signal to them" (meaning the Rosetta 800s)? I suppose there's another piece of equipment involved?

There are no direct mic inputs on the back of the Rosettas. Only a "D" connector which you plug a multi core into. The mics need to go through amps first and then be passed on down the multi core to the Apogees.

cheers
Gavin

To elaborate a bit more in this;
The apogee ensemble has 4 preamps of its own which means that you can connect 4 mics simoultanously. You also have the option for ADAT which means that you can expand the ensemble with any ADAT convertor.

That can give you a total of 4 (ensemble) + 8 (external convertor) mic preamps.

As interfaces are concerned, I personally used my presonus firestudio 26 for a long time. It has 8 preamps and it's cheaper then the ensemble (and sounds smilar I think). Echo Audio just released their long anticipated Audiofire Pre8 (http://www.thomann.de/gb/echo_audiofire_pre8.htm). Wonderful soundquality, top conversion and 8 very good preamps for under 700.

If you are on a mac, try to find yourself the Metric Halo 2882 (http://www.thomann.de/gb/metric_halo_mobile_io_2882_expanded_2d.htm). Those have 8 preamps (don't be fooled, 4 have mic connectors, the other ones have fantom over jack so that means you need an xlr to stereo jack cable) and the 2882 is one of the best sounding units in its priceclass (and the class higher too) and they should cost the same or less then the ensemble (but give much more options like on board effects and even the option to record right from the interface with the 2D card which is installed in the unit that is shown in the link)

If you want an interface and a separate ADAT convertor, try Presonus (http://www.thomann.de/gb/presonus_digimax_d8.htm) or Mackie Onyx 800 (http://www.mackie.com/products/800r/). They both have great preamps and don't break the bank (Mackie is what Gavin uses). Advantage of the Mackie is that it already has 192 khz options in case you are interested in that.
Focusrite just announced their new octopre MK2 (http://www.thomann.de/gb/focusrite_octopre_mkii.htm) which costs less then 400 dollars. Not sure how it sounds but that doesn't break the bank either… And of course there are other convertors/preamp combinations as well in all price ranges.

Another option I just thought about are mixingdesks with usb/firewire options. Mackie has a serie that can do it. I believe that soundcraft also has these. I couldn't find the Mackie's anymore at thomann but you might want to check their website.

If I can be a bit of advice, it is wise to invest in good convertors and good mics. The preamps will not make that huge significance in sound. Good quality microphones and the setup define your drumsound and quality of the recording the most.

[ItalianRicky]

Hi gavin.
I saw on the photos taken for the newest dvd, that you put on your toms and floor toms the S-hoops.
WHY?
I already know that on the snare they're helpful, they help to save sticks, and keep rings in their place.
How this hoops can affect the drums sound to you?
My pearl drumkit have Die cast hoops on every tom and FT, but i really cannot understand the use of s-hoops on every drum.
I hope that i'm not bothering you.

I wish a good weekend to you.
Cheers from Italy
Riccardo

[osi.3]

Thanks for all the excellent ideas SantiBanks. Certainly not making any hasty decisions here.

Do you think the "fully-integrated with Logic" quality of the Ensemble would give advantage over the Audiofire, though? I'm using an Audix DP 5A 5-piece drum mic package in addition to 2 AKG overhead condensers, not top of the line mics, but worthy of my current setup.

From this: "That can give you a total of 4 (ensemble) + 8 (external convertor) mic preamps" do you mean it's possible to record 12 tracks at once? That would be extremely useful for group sessions.

Sincerely
mp

[ahector]

Gavin,

When you record at home, do you hire an engineer or do you do everything yourself? If you do it yourself, how does that work (i.e. do you have a laptop next to the drum kit or something like that)?

I do a lot of home (or rented rehearsal space that is) recording of myself and I hate having to be my own engineer. I would love to have the luxury to focus on playing the instrument and not to have to deal with the technical aspect of recording at the same time!

[Venimal]

Hello Gavin,

I first heard about you from my drumming instructor Brad Schuelter at the Drum Pad in IL, and he had me listen to Blackest Eyes back in 2007 (which was RIGHT after you guys came in town) and since then I was mesmorized by your playing. Me and my older brother saw you guys in Chicago in September, and both agree, you guys were just amazing. Thank you very much for being such a great inspiration, and I look forward to the many years I will be working with your books and DVD's (yes, it will be years).

If I could ask one question of you, and if it has been asked I appoligize, but there is a fill in Mellotron Scratch at 4:56 that I also heard in the live version of Hatesong in "Arriving Somewhere..." I don't suppose you could explain that, could you?

I look forward to seeing you in Chicago on the 30th of April, and again on the 2nd of May in Detroit. I will be right up front!

[SantiBanks]

Thanks for all the excellent ideas SantiBanks. Certainly not making any hasty decisions here.

That is a very good decision :) Hasty decisions are usually not the right ones…


Do you think the "fully-integrated with Logic" quality of the Ensemble would give advantage over the Audiofire, though? I'm using an Audix DP 5A 5-piece drum mic package in addition to 2 AKG overhead condensers, not top of the line mics, but worthy of my current setup.


"fully integrated with Logic" is nothing fancy. It only means that you can open up some panels in Logic that give access to parameters in the Ensemble (or duet, or one or mio for that matter). It's the same as opening up the configuration panel or the audio-midi setup. Its just some fancy screens with the same functionality and a picture of the apogee in logic.

In my opinion, not really a very unique sellingpoint.

As your mics are concerned, it's not really about the quality of the mic. Sure it's a factor but I can bet that I can make the most expensive mics in the world sound like crap.

I did a lot of research on soundcards and their convertor and preamp quality. Its a very difficult topic. There is difference in audio quality between manufactors. Thats one thing that is sure. However, these can be minime.

Echo and Apogee use good components. The thing with Apogee however is that they are much longer in the ballpark and have a high reputation (which they earned with their dithering technique btw.)
You can't go wrong with an apogee. But on the other hand, you can't go wrong with the Audiofire 8, AudioPre 8 or Audiofire 12 from Echo. They have top notch convertors and good preamps too.

The difference in price is large (ensemble is maybe twice as much) but keep in mind that the audio quality isn't twice as good. For a bit better audio performance, prices are usually exponentially higher.

If you are willing to pay the price for an Apogee, then I really suggest looking at Metric Halo (http://www.mhsecure.com/v5mm/2882_2dExpanded.html). You get a lot more functionality (which is useful functionality), dsp and 8 preamps instead of 4 for a similar price and the audio quality is on par or even better then the Apogee Ensemble.

If you want to do some research yourself, then I'll recommend the gearslutz forum (http://www.gearslutz.com/board/index.php)



From this: "That can give you a total of 4 (ensemble) + 8 (external convertor) mic preamps" do you mean it's possible to record 12 tracks at once? That would be extremely useful for group sessions.

Sincerely
mp
If you buy a separate adat convertor, then you can record 12 tracks at once yes. If you buy something like the presonus and have 2 adat convertors, then you can record 26 channels at once.

Mackie did release the Onyx 1200F some years ago. It has 12 preamps I believe and is a 2 rackunit firewire soundcard. I have the small onyx, the mackie preamps are good stuff. If you want 12 channels in a box, then I'll suggest that one. However, check the mackie forums for driver support. The only thing I dislike about mackie is their support for their units. Drivers are usually not updated (my onyx is wonky now I use snow leopard…)

[euphoric_anomaly]

Gavin,

I was comparing drum fills the other day between songs you've recorded. There is a fill you do in "Slippin Away" that sounds almost identical (minus the chimes) to the intro of "For Lack of". Are the two fills the same? The fill involves a nightmarish combination of doubles and possibly a paradiddle or 2 with the bass drum in between.

Also, have you ever considered (just for fun), comparing the sound of your drumset between fully acoustic and fully mic'd and ready to record? I bet the sound difference would leave you pining for the microphones and preamps, haha.

Thanks for your time
Eric

[Gavin Harrison]

Hi Phil Brodermann

Why is the interior of your kit black?

I just liked the look of it when you have clear heads on the bottom.

Hi osi.3

Do you know much about sound proofing? I'm curious first if it hinders recordings if there's too much of it on the walls etc.,

I don't know a lot about sound proofing. It's important that the room you are playing in sounds good to you and doesn't accentuate any particular frequency too much. If you have bare parallel walls you can get a really nasty standing wave. If the room doesn't sound pretty good - then it's better to have a lot of sound proofing material in it - and go for a 'dead' sound. At least that way you can put on some reverb and eq in your mix.

Hi Dane777

You cut your strands to just 8?
How did you know to do that, and what would you recommend if I'm using a 3x14 free floating maple piccolo snare??

The 8 strand thing maybe a sound you like or not - I don't know if it will suit your drum - that's up to you. I actually pull off the outside two wires either side and then file down the solder so there's nothing sharp sticking out.

Hi ItalianRicky

I saw on the photos taken for the newest dvd, that you put on your toms and floor toms the S-hoops. WHY?

I like what they do to the sound of the toms. I find die cast rims suck up too much of the tone and sustain. The S-Hoops are rigid like die cast but without the above problem.

Hi ahector

When you record at home, do you hire an engineer or do you do everything yourself? If you do it yourself, how does that work (i.e. do you have a laptop next to the drum kit or something like that)?

I do everything myself - but I don't like to do any real engineering stuff when I'm in 'playing' mode. It seem that it uses two completely different sides of the brain. That's why I make sure that everything is set up properly before I begin. I have an Apple blue-tooth keyboard next the drums so that I can operate Logic from there.

Hi Venimal

If I could ask one question of you, and if it has been asked I appoligize, but there is a fill in Mellotron Scratch at 4:56 that I also heard in the live version of Hatesong in "Arriving Somewhere..." I don't suppose you could explain that, could you?

It's basically just triplets - and at various points I hit the open hi hat with my left hand. I don't think of it as a worked out fill. I quite often have an idea for a fill that has some loose parameters - and that way I know roughly what it's going to sound like - but I also know that there's some surprise in there because it's not exactly worked out. Having concepts for fills is much nicer than just having a 'library' of fills.

Hi euphoric_anomaly

I was comparing drum fills the other day between songs you've recorded. There is a fill you do in "Slippin Away" that sounds almost identical (minus the chimes) to the intro of "For Lack of". Are the two fills the same? The fill involves a nightmarish combination of doubles and possibly a paradiddle or 2 with the bass drum in between.

I don't know if it's the same - but if the bells aren't in there - then I guess it can't be. If you've got my latest book/dvd there's a clear break down of that exact fill from "For Lack Of"

Also, have you ever considered (just for fun), comparing the sound of your drumset between fully acoustic and fully mic'd and ready to record? I bet the sound difference would leave you pining for the microphones and preamps, haha.

I don't think I really understand the question. The only way I can compare is to listen to my drums as I play them acoustically - and then hear a recording of them. The difference in hearing the drums live as I play them and hearing them coming out of a pair of speakers - is such a completely different experience - I couldn't draw a comparison. No mics in the world can really capture what you're really hearing live as you sit at the drums. In the same way a video camera doesn't really capture what your eyes see...we've just become very accustomed to the result.

cheers
Gavin

[Just Drums]

Gavin -

Shane Fowlkes of Just Drums in VA. We're Virginia's only Pro drum shop and one of the largest on the East Coast.

First of all, you have a HUGE following here in our shop. Our staff and a lot of our students admire your work with Porcupine. We were thrilled to hear of you coming to Richmond VA (The National venue) on May 11. A lot of us are planning a "field" trip to come see you guys that evening.

Question - I'd like to see if you'd be interested in or available for an in store appearance since you'll be in town. Would you be up for something like this?

We did this a couple years ago when Jon "Bermuda" Schwartz came to town for a show. Jon came and visited our (old) shop and then we took a few of our students down to the venue before the show. Jon was gracious enough to let us come back stage before AND after the show. Our students LOVED it. Check it out:
http://www.justdrumsonline.com/events/07082008.aspx

So anyways...please drop me a line to see your schedule allows for a visit to our store on May 11.

-Shane
shane.fowlkes@justdrumsonline.com
804-794-1667

[steste50]

Hello again Gavin,

U pay a lot of attention to the sound, so talking about the bass drum have u heard of/tried this Kickport made by Pearl (www.kickport.com)? If so what do U think about it?

Thx a lot,
Ste

[NeuroAxis]

Gavin -

I just had sort of a technical question. I was watching this vid:

http://www.youtube.com/watch?v=O0qk169ilxI

in which the drummer discusses a sticking of 5 (R L r r L) that you use a lot. I've been experimenting with this sticking and creating fills out of tacking on two kick drum notes at the end to make it a group of 7 (sounds great, by the way, and very challenging to line up with the click when voiced as 8th notes, 16th notes, 32nd notes, 8th note triplets and 16th note triplets, nevermind quintuplets and septuplets).

I noticed also there was a video awhile ago where you talked about fills using linear hand-foot combinations (I think it has since been taken down though).

But I was just curious about the use of the terminology 'linear.' What makes it a linear fill? Is it just because it's based on the repeating sticking pattern?

[drumstu]

Hi Gavin,
I have been practicing to some of your transcriptions that have been posted and love the subtleties of your open and closed hi-hat in places. Did you have a point when you studied hi-hat techniques or did you have a method for the hi-hat that you used maybe from the Stone book or similiar?


You've heard it before but, I love your playing. Not just because of the technique but also because of the musicality and tastefulness.
Thanks,
Stuart

[CareyCopelandCameron]

Hi Gavin,
I just ordered a ticket for your masterclass at the Sonor-Days on May 29th.
Im not really an advanced drummer,but I just had to take the chance to be part of this event,I hope this is no problem.
My second question is,I have a beautiful 14x8 Designer (Tribal-finish) and I would love to get a little signature from you on it.Do you think is is somehow possible?

http://c3.ac-images.myspacecdn.com/images01/82/l_ab8affa2a1e8abc1dc17de190070e812.jpg

Thank you very much,
Chris

[ItalianRicky]

hi gavin.
do you remember the song "mille giorni di te e di me"?it's a claudio baglioni song..
in past you started the song with a fill, and i can't understand how you make it.
can you please post a little transcription?or maybe Terry B. can help me? :)
cheers

[dr_flam]

Hi everybody! I'm new to the forum :-))

To Carey Copeland:

Beautiful snare drum! Unfortunately Sonor told me that the tribal finish was discontinued!! The set for Gavin was one of the last with this finish!! :-((

To Gavin:

When will you come back to Italy for a drum clinic??? We are all waiting for you!! :-))

best! M.

[toddy]

nice to meet you dr_flam! enjoy your stay :)

[ChrisGau]

I just ordered a ticket for your masterclass at the Sonor-Days on May 29th.


Thanks for the hint CareyCopelandCameron. I am also not a pro drummer but I love the topic ("Rhythmic Illusions") and of course I would really like to meet Gavin in person.

Gavin... looking forward to seeing you end of May. I have to admit that I am a little bit nervous as well. Not sure what level you expect from the guys sitting arround there and whether I can meet your expectations ;-).

[ChrisGau]

hi gavin.
do you remember the song "mille giorni di te e di me"?it's a claudio baglioni song..
in past you started the song with a fill, and i can't understand how you make it.
can you please post a little transcription?or maybe Terry B. can help me? :)
cheers

Don´t want to be the party pooper here but you really shouldn´t be posting the mp3 of an original song... there´s always a lawyer who wants to sue an innocent board owner for distributing copyright content. Anyway...

If you ask me... I heard something like that:


Spl ---- ---- ---- ---- ---- ---- ---- ---- | X
HH ---- ---- ---- ---- ---- ---- ---- --°- | x
SN: ---- ---- ---- ---- ---- ---- Rlrr L--- | -
BD: ---- ---- ---- ---- ---- X--- ---- ---- | X


Every "-" represents a 1/32 note. Upper case characters are accents. Of course I only noted down the intro fill and the very begin of the first bar. The introducing BD could very well be one of the floor toms.

[Ramtin HajatDoust]

Hi
Mr. Harrison

Please find the attached files for sample sound of my snare drum with three Audix i5. I send them in 24b/96KHz WAV file separatly. Please combine them (I think I forgot reverse the phase of under mic).
Would you please tell me your opinion regarding the sound, quality, tune, microphones places and other things ....

Recording by: Presonus FireStudio 26x26
Drum Stick: Regal Tip 5AN
Snare Drum: Yamaha YD 14"x5.5" 9ply
Drum Head - Top: Yamaha Coated - Resonance: Yamaha Clear

Best Regards,
Ramtin HajatDoost
Tehran - Iran

[Terry Branam]

hi gavin.
do you remember the song "mille giorni di te e di me"?it's a claudio baglioni song..
in past you started the song with a fill, and i can't understand how you make it.
can you please post a little transcription?or maybe Terry B. can help me? :)
cheers

Hi Italian Ricky,

Here's my take on the fill. I chose to use 8th/16th notes to make it easier to read.

Hope it helps!

Terry

**Sorry about the huge size!!**

http://img242.imageshack.us/img242/6342/gavinintrofill.jpg

[CareyCopelandCameron]

@Dr.Flam,
thank you.In my ears and of course,if youd ask my hands...its the best sounding and looking snaredrum Ive ever played.They dont use this finish anymore?Arghh....I wanted a SQ2 with the Tribal-finish in the future....:(

@ChrisGau,
Ich werde am Samstag da sein,vielleicht sieht man sich ja;)
Gruss,
Chris

[ItalianRicky]

Hi Italian Ricky,

Here's my take on the fill. I chose to use 8th/16th notes to make it easier to read.

Hope it helps!

Terry

**Sorry about the huge size!!**

http://img242.imageshack.us/img242/6342/gavinintrofill.jpg


thanks a lot terry!
cheers!

[Phil Brodermann]

Gavin, a huge thanks for the clinic and taking the time to chat and sign my snare :) It was a really great night and I hope to see you again in the future, Phil :)

[Trains']

Hey Gavin,

just got your new DVD, I was curious about the grey thing your drumset set up on. What is it good for?

All the best,
B

Just read about the Masterclass.. I ordered a ticket for Friday, see you there! (:

[Sol Good]

Hey Gavin,

I was curious about the grey thing your drumset set up on. What is it good for?
(:

http://www.drummerworld.com/forums/showpost.php?p=674505&postcount=4215

[Trains']

http://www.drummerworld.com/forums/showpost.php?p=674505&postcount=4215

Thanks.. I prbly missed that ;)
One question left .. whats it good for / would happen if it wherend there ? ;-)

[euphoric_anomaly]

Gavin,

Quick question that I cannot find the answer to on any other website. What is the difference between counting out 5/4 and 5/8? It just seems to me that 5/8 would feel "faster" than 5/4 because of the 8th notes. For example, if you played a 5/4 groove @ 120bpm and then played a 5/8 groove at the same tempo, would there be any difference as far as "the feel" of the song being a little faster? It's probably just my ignorance of music theory.

Sorry if I didn't word this in an easily understandable fashion, but I did the best I could as to explaining my confusion between the two time sig's.

Thanks for you time Gavin
Cheers
Eric

[Fox622003]

and then played a 5/8 groove at the same tempo, would there be any difference as far as "the feel" of the song being a little faster? The feel wouldn't necessarily be a little faster. The Sound of Muzak, for example, two 7/8 grooves, or one 7/4 groove, there's no difference, the time signature is a matter of how *you* perceive it. You can play eigth and quarter notes to both 7/8 (displaced in the second measure) and 7/4.


Fox.

[tmccartney]

Gavin:

"Flicker" is my favorite song on The Incident, and I notice the whole band got a songwriting credit for it (along with a couple of others). What can you tell us about how this song came about? Was it a jam in the studio, or what?

Thanks! Can't wait to see you guys in Atlanta next month.


- Tracey

[pixelbreaker]

Hey Gavin,


How does Porcupine Tree come up with the set lists for shows? Are they always the same, or do you mix them up for each show?

[Gavin Harrison]

Hi steste50

U pay a lot of attention to the sound, so talking about the bass drum have u heard of/tried this Kickport? If so what do U think about it?

I bought one from the States when they first came out early last year. I didn't have much luck with it. I don't think it works if you've got a big pillow inside the drum.

Hi NeuroAxis

But I was just curious about the use of the terminology 'linear.' What makes it a linear fill? Is it just because it's based on the repeating sticking pattern?

Linear means that no two things are played at the same time. So it's a sequential row of notes.

Hi drumstu

I have been practicing to some of your transcriptions that have been posted and love the subtleties of your open and closed hi-hat in places. Did you have a point when you studied hi-hat techniques or did you have a method for the hi-hat that you used maybe from the Stone book or similiar?

No I didn't study anything specifically for the hi hat. I like to follow what I think are musical patterns that would suit the tune and drive the rhythm in certain ways.

Hi CareyCopelandCameron

I just ordered a ticket for your masterclass at the Sonor-Days on May 29th.
Im not really an advanced drummer,but I just had to take the chance to be part of this event,I hope this is no problem.
My second question is,I have a beautiful 14x8 Designer (Tribal-finish) and I would love to get a little signature from you on it.Do you think is is somehow possible?

If you bring the drum with you - I'll sign it. It looks like a real beast!!!!

Hi dr_flam

Beautiful snare drum! Unfortunately Sonor told me that the tribal finish was discontinued!! The set for Gavin was one of the last with this finish!! :-((

Yes I got really lucky there!

When will you come back to Italy for a drum clinic??? We are all waiting for you!! :-))
I am thinking about it and looking for a gap in my busy schedule to commit to a clinic tour.

Hi Ramtin HajatDoust

Please find the attached files for sample sound of my snare drum with three Audix i5. I send them in 24b/96KHz WAV file separatly. Please combine them (I think I forgot reverse the phase of under mic).

I'll have to wait to check them when I'm back in my studio.

Hi Trains'

http://www.drummerworld.com/forums/s...postcount=4215
Thanks.. I prbly missed that ;)
One question left .. whats it good for / would happen if it wherend there ?

the same reason anyone would set their drums up on a mat or carpet - so everything is in the right place and nothing moves whilst I'm playing it.

Hi euphoric_anomaly

Quick question that I cannot find the answer to on any other website. What is the difference between counting out 5/4 and 5/8? It just seems to me that 5/8 would feel "faster" than 5/4 because of the 8th notes. For example, if you played a 5/4 groove @ 120bpm and then played a 5/8 groove at the same tempo, would there be any difference as far as "the feel" of the song being a little faster? It's probably just my ignorance of music theory.

If you played the same pattern in 5/4 and then 5/8 at the same tempo it wouldn't be "a little faster" it would be twice as fast in 5/8. Of course time signatures are just there to help you understand and perceive what is going on. The audience doesn't hear the bar lines - you could have a pattern that is five beats long but you could have it placed inside any time signature. You can of course count a piece at any rate that you feel comfortable at.

Hi tmccartney

"Flicker" is my favorite song on The Incident, What can you tell us about how this song came about? Was it a jam in the studio, or what?

yes it started as a jam.

Hi pixelbreaker

How does Porcupine Tree come up with the set lists for shows? Are they always the same, or do you mix them up for each show?

we normally have a pool of songs that we agree on before a tour - so we can rehearse those and get them up to 'performance' level. Then we work on the pace of the show and then sequence of most of the tunes. Find a good opener and a good closer to the set and then try to make some sense in the way the tunes follow each other. We do swap some songs around during the tour but a lot of the set list stays the same.

cheers
Gavin

[CareyCopelandCameron]

Gavin,I love you! :-)

See you then on May 30th with my snare!(Had to take a ticket for Sunday,because a friend of mine joins on this day)

Thanks so much!
Chris

[Gavin Harrison]

For anyone interested in the masterclasses that I will be giving at the Sonor Days 2010 event. It's on the 29th and 30th of May at the Sonor Factory in Bad Berleburg - Aue Germany. Here's the link:

http://www.sonor.com/sonordays2010/en/tickets.html

should be a great event!! There's live performances as well as the masterclasses.

cheers
Gavin

[Phil Brodermann]

Hello Gavin, I noticed three cameras at the poole clinic; are you planning to release this footage?

[Gus]

Hi Gavin

Will your work allow you to see the Zildjian European Tour of Steve Gadd?.
We´ve been lucky, and he´ll land at my city, Sevilla, and will see him. There is a good friend of mine, who are percussion instruments dealer here(Sonor, Zildjian, Axis, Remo...), and works hard in order to get great musicians for clinics, basically he organize every year a drummer´s day called 'DrumFest'. We´re waiting to see you playing sometime, you would be warmly welcome. Sevilla is a lovely city with: good weather, good food, beautiful women...And nasty traffic!! :-))

Greetings
Gus

[carlos ramos]

Hi Gus. you are so lucky Steve Gadd will go to your city. I´m Portuguese and i´m planning to go that clinic, but it is a bit far from where I Live.

Hi Gavin.
I want to thank you about all Information you have posted here. I missed your shows here in Portugal last year... Now I have to wait for another chance to see you playing.

I received 10 Min Ago your new DVD Rhythmic Designs, and will Study It For The next Months... Hope It Will Bring me some Ideas And Inspiration...
If I have any question I will Ask.


Carlos Ramos

[Gus]

Hi Carlos Ramos

If you finally decide to go, here´s the link where you can get the tickets:

http://www.tamtampercusion.com/

They´re good guys.

Gustavo

[steste50]

Hi again,

Talking about Lewis Taylor: i personally link him to another "modern pioneer" of that kinda music i.e. Jamiroquai. Do you like what Jami does and how would U see Yerself drumming for him?

Thank You again and again,
Ste

[pixelbreaker]

Hey Gavin,

At 5:13 of "What Happens Now?", I can never figure out the time there. Could you elaborate on the time signature or just what you're playing there?

[Alex P.]

Hey Gavin,

At 5:13 of "What Happens Now?", I can never figure out the time there. Could you elaborate on the time signature or just what you're playing there?


Hi pixelbreaker,

It's in 7/8. The ride cymbal is played every 3rd 16ths.