Gavin Harrison here!

[tobi283]

hi gavin!

i recently found out that you're playing a 13" hi hat is that right?
i'm about to buy myself a new hi hat (it's probably gonna be the A custom) and the shop assistent advised me to think about a 13" one, because it would sound more special and shilhouetted against the other instruments. well that seems logical to me but do you think that it will fit to heavier music too? what is your reason for playing a 13" hihat?

thanks!

[Gavin Harrison]

Hi volume_3

I'm having trouble figuring out time signatures though, Gavin you seem to be quite the mathmatician when it comes to the drums, do you have any tips for counting time signatures, and working them out?

You get used to the sound of 7 & 5 & 9 they just have a sound to them that (when you're familiar enough with them) you instantly recognise.

Some compound time signatures are a bit more tricky to hear. Maybe it's a time signature like 19/8 but inside that you can hear two 7's and a 5. Sometimes I have to just sit and count through it carefully until I reach the obvious repeat point in the rhythm.

I have a method of count odd groupings that is explained on my last DVD Rhythmic Horizons - you might find it useful to see it.

Hi tobi283

i recently found out that you're playing a 13" hi hat is that right?

That is correct - I find them very versatile.

cheers
Gavin

[moncholo]

Hi Gavin,

I'm trying to get my snare drum to be as sensible as yours. I mean i want my snare to feel every little note and ghost note and buzz roll that i play, so as to be able to play stuff like The Sound of Muzak or the last part of Anesthetize, where you're playing all this little simple and dynamic notes on the snare drum. Do you have any tips to achieve that kind of response from your snare? Could it be a technique issue? Could it be a tuning or snare issue?

I'd really appreciate and answer! Thanks for your time!

[XboxIsAGodToMe]

I know he does use 8 strands on his snare (not sure if it's on all of them) so that has something to do with it. I just recently did this to my snare, and it sounds awesome. You would think, less snares, less sensitivity, but that does not seem to prove true. if you have extra snares, I would recommend experimenting. I'll stop here, as i'm sure Mr. Harrison will have a better explanation lol :)

[moncholo]

thanks! i'll try that, but i'm still gonna wait till i get tips from the master himself.

[Anchein Vouivra]

Your show at Interlaken's Greenfield Festival was great. Good sound, great song selection........just too short, but that's how it is in festivals specially when you're not the last band on stage. Hope you enjoy the mountain view you had in front of you.
Sounds like Porcupine Tree's new album will be a monster. Your drumming is some of the cleanest i've ever heard, truly amazing and inspiring to hear you again live.
I just have one question i couldn't figure during the show (probably due to some liters of beer), but is Adrian Belew's guitar solo sampled on the song "Halo" during live performance because it sounded exactly the same as on CD. It's simple curiosity in no purpose to criticise.
Wish to see you soon again

[Drizzle]

Hi Moncholo,

You must not forget that when you hear Gavin play, the sound you hear has gone through microphones. I know he useally uses two mics on his snare, one on top and one on the bottom. The bottom is to pick up all those 'soft' notes that would be lost when using only the one on top.

The fact remains that to get a great snare sound it has to sound good on it's own, without the microphones, and Gavin will probably have some tips for you to get his sound.

I personally use a Yamaha Dave Weckl model which has two snares both with 2 strainers.
This way I can adjust the 'buzz' of the snaredrum in many ways, and maybe more importantly change the 'feel' of the drum and still have a good 'buzz', I really love it.

So maybe a drum with 2 snares is something to consider when buying a new snare, although they can be quite expensive.

Drizzle

[moncholo]

Still, for the snares to be heard through the microphones, they'd have to be heard live by ear if you put your ears next to the drum. I did this and stil didn't get nothing by playing really soft... Still, i'm just trying to get some snare response; i'm not trying to make all those small ghost notes go over a live band... specially with no miking.

Maybe it has to do with the heads..... like, a thinner head will resonate more and produce more snare response. I have an Emperor X batter head with no muffling and some random resonant head that seems tobe pretty thick.

[Drizzle]

Sounds like it could be more of a tension problem with either the heads or the snares.
As you probably know that when you have the head is to tight you have to hit harder in order to get the snares moving, and if the snares are choked because they are to tight or burried into the head they are not going to buzz easily.

Getting a thinner head will probably improve things, but even with thicker heads it's possible to get good articulation.

If you've put your ears next the drum and you didn't hear the snares then there's definitely something wrong....



Good luck,
Drizzle

[moncholo]

Just for the record, when i play normal strokes y do get snare response, the problem is with really subtle and delicate strokes.

[Drizzle]

Just for the record, when i play normal strokes y do get snare response, the problem is with really subtle and delicate strokes.

Maybe you could experiment a little with the tension of the snares.
Just play some subtle strokes and slowly loosen the tension of the snares untill you start hearing the snares.

If you loosed the snares all the way and still don't hear the snares with the subtle strokes then the problem has probably more to do with the tension of the heads.

I think you just have to experiment.

Drizzle

[moncholo]

If i loosen the snares, i do get more response, but there's no stick definition or articulation..... intrincate patterns don't get through, and there's a lot of annoying snare buzz produced by hitting other drums.

[Gavin Harrison]

Hi moncholo,
Like you - everybody is searching for the perfect snare sound - and a lot of that depends on your expectations from your snare drum - sometimes it's easy to get a great fat backbeat sound - but have nasty sounding ghost notes and vice versa. I have an idea of what a great snare sound is in my head - and I've been working towards it all my life. You won't get a nice ghost note response from an Emperor X - maybe try a Remo CS and a snare side Ambassador. If you hit really hard then you have to make a compromise between getting durability from a head like the Emperor X (and just live with it's lack of sensitivity) or use a CS or Ambassador and change it every couple of shows. As I've said before - on most of my drums I have a Puresound 12 strand snare and I pull off the outer two strands from each side so that there's just 8 strands left in the middle. I have the snares on quite tight - but not mega tight where the drum is choking.
You need to experiment until you find the right drum, the right size and depth, the right combination of heads, the right snare wires and the right muffling to suit the music that you're playing - at the volume that you're hitting the drum. Add on top of that a very important factor indeed - the way that you actually strike the drum and the size of sticks you're using.

All that is very personal to you and it becomes part of your sound.

cheers
Gavin

[Gavin Harrison]

Hi Anchein Vouivra,

I just have one question i couldn't figure during the show (probably due to some liters of beer), but is Adrian Belew's guitar solo sampled on the song "Halo" during live performance because it sounded exactly the same as on CD

No, Richard our keyboard player is performing that solo on a synth.

cheers
Gavin

[Pandrex]

Hi everyone, i just registered.

I have been quite obsessed with PT since i first heard them, and i especially love the 5.1 mixes and DVDs. I love your technique and drum sounds Gavin, as well the good variation and use of your different cymbals. I really enjoyed seeing you at Download Festival, i was right at the front, and i hope you come back soon (or to Ireland), oh and thanks for signing my snare drum at the kerrang signing tent :D
It's very good to see you giving a huge amount of answers on here. Chances are, if i ask one it will already have been answered on here, so I won't for now...

take it easy

[Mr. Brownstone]

Good day Gavin, loved the show in Montreal. Are you guys done with Canada this tour? I remember last time (2005) you guys came back later in the year.

When using an illusion do you find it more effective when used in small spurts or stretched out over a few bars? I'm trying to incorporate an illusion into some stuff we do and right now I'm doing it over 4 bars (the song is played at 85 bpm). Is it better to mess them up for a short time or try to let them try and catch it only to end the illusion just as they're about to understand what's happening? The illusion is displacement, starting the 1 on the snare. The very first 4 bars are played as one normally would, and my intention is to play the 2nd 4 bars under the illusion.

Hope I made sense!

[moncholo]

The CS are the Controlled Sound?

[fromyesterday]

Brownstone,

I'm no expert on illusions but I tried to incorporate an illusion into one of our songs and anymore than _ONE_ measure would throw my BAND itself off.

I experimented with this some and also found that the least amount of measures I played an illusion the better it sounded to me.

I think it depends on the song and your band. You don't want to screw the tune up and you especially don't want to throw your band itself off track. I don't see myself doing anymore than a one measure illusion in one of our songs because the other songs the illusions can detract from the music and that is what you want to avoid.

I love the use of rhythmic illusions on "Hatesong" from the PT live DVD "Arriving Somewhere..." if I remember right there are two short sections at the end improv section. One of them goes over a portion where Steven Wilson starts to wail on a guitar part and the illusion itself really shifts the ENTIRE feel of the tune from laid back rock to blasting in your face rock just for a few seconds and it's pure genius. When I first heard it I had to rewind that section a few times because it was so innovative to me and my friends, who are not drummers.

In my mind the above mentioned song is a PERFECT example of how to use these neat illusions.

[Gavin Harrison]

Hi Brownstone,


When using an illusion do you find it more effective when used in small spurts or stretched out over a few bars? I'm trying to incorporate an illusion into some stuff we do and right now I'm doing it over 4 bars (the song is played at 85 bpm). Is it better to mess them up for a short time or try to let them try and catch it only to end the illusion just as they're about to understand what's happening?

Usually I only do a rhythmic illusion for a very short time - just as an effect.
Sometimes I use an illusion as part of the composition (like Mother & Child Divided)...either way I don't do it to deliberately 'mess up' the other guys in the band. There's sections in the PT show where the guys are expecting that I might do those kind of things so it's not such a surprise.

cheers
Gavin

[Mr. Brownstone]

Hi Brownstone,



Usually I only do a rhythmic illusion for a very short time - just as an effect.
Sometimes I use an illusion as part of the composition (like Mother & Child Divided)...either way I don't do it to deliberately 'mess up' the other guys in the band. There's sections in the PT show where the guys are expecting that I might do those kind of things so it's not such a surprise.

cheers
Gavin
Haha, no not to mess up the guys in the band, I was thinking more about the listener. I guess I coulld've have been just a little clearer

Thanks Gavin.

[Mr. Cloggy]

Hello Gavin,

First of all my compliments on an awesome show in The Effenaar, Eindhoven last tuesday. I was in the front row, in the centre and the whole band was just inspiring. You guys seemed to have a good time as well, laughing and making jokes. The new album ROCKS live, especially 'The Beast' Anesthesia and 'Way Out Of Here'. Your playing is still fascinating; no matter how complicated or weird it gets, you always maintain a strong groove. Can't wait to see you guys again, I won't make it to Amsterdam this evening.

One small question: I know the subject 'snare' has been beaten to death here, but it seemed like you were using a tribal SQ2 snare on your side with a black steel snare as your main snare. Am I right? Anyway, they both sounded awesome, just like the rest of your SQ2.

Oh, a drummer friend of mine got your setlist. Thanks for that. ;) I bought one of the signed heads, always nice to have.

Cheers!
Gijs

[Gavin Harrison]

Hi moncholo

The CS are the Controlled Sound?

Correct.

Hi Mr. Cloggy

One small question: I know the subject 'snare' has been beaten to death here, but it seemed like you were using a tribal SQ2 snare on your side with a black steel snare as your main snare. Am I right? Anyway, they both sounded awesome, just like the rest of your SQ2.

Both snares are SQ2 tribal finish. The main snare is Birch 14x5 with rounded bearing edges.
Glad you enjoyed the show.

Cheers
Gavin

[Mr. Cloggy]

Wow, thanks for the swift reply. I also liked some the 'older' songs btw, Sever, Drown With Me and Half Light are awesome songs, no wonder you like te play them. Shame that only some of the people in the audience knew Sever, ah well.

If anyone is interested, this was the setlist of the evening and a pic of the signed head:

[Afrolicious]

Hey Gavin!

Loved your performance on Southside Festival. You definetely had the greatest drum sound of the weekend. I only spotted one single rythmic illusion but therefore it was a real highlight. Very tasteful drumming throughout the set. I'm looking forward to seeing another PT show as soon as possible.

[SantiBanks]

Hi gavin !
Just got back from the Amsterdam gig and the performance and setlist where awesome ! I loved your drumming and it was cool to see some spotlights on you at certain parts in the set.

But one thing, why was the sound so bad? The sound was very distorted due to loud basses (that was already a problem with the support act (who where they? They didn't introduced themselves) ) and I noticed some people leaving the show because they couldn't stand the sound and some even got sick of it which is a shame I think as the performance really blew me away ! (well at least your drumperformance did !)
Last year at paradiso, the sound was also pretty distorted and too loud but the venue size compromised a bit for that. I always use earplugs (to protect my hearing as its valuable for me as a musician and producer) but even I am have problems with my hearing after the concert...

Please tell the other bandmembers that they rocked and pass a compliment to Lasse who did a terrific job on the visuals! I really love the work he does for PT !

[ddrumbum]

Hello Gavin,

First and foremost I have to say that you are just absolutely and incredible drummer and one of my main influences, your drumming is so tasteful and precise, thank you.

Q. I have been struggling with learning PT song the sound of muzak, it has a very odd time feel, and I just can't figure it out, I am really wanting to learn this song, I love this song, it is one of my favs, any help would be much appreciated, thank you for taking the time.

[ZDrums24]

Q. I have been struggling with learning PT song the sound of muzak, it has a very odd time feel, and I just can't figure it out, I am really wanting to learn this song, I love this song, it is one of my favs, any help would be much appreciated, thank you for taking the time.

I know reading through this thread is a ridiculous task, but this song has been covered, so I'll try to save the man some trouble.

The song is in 7. I call it 7/4 (the accents on the hihat being 1/4 notes), but Mr. Harrison has stated that the bottom number just depends on how you are looking at it.

if you go with my take on it (being in 7/4), the groove itself is in 7/16. It repeats several times in the course of one bar (the last having a slight change in the bass drum).

the 7/16 groove is sub divided into 3+2+2 (b--b-s-). the fourth repitition just omits the first bass drum hit. around this skeleton, there are alot of little nuances like buzzs and grace notes. those will come when you settle into the structure of the groove.

in the chorus, its just straight 4/4, but one of the snare hits is a 16th note early.

[shuffle]

Q. I have been struggling with learning PT song the sound of muzak, it has a very odd time feel, and I just can't figure it out, I am really wanting to learn this song, I love this song, it is one of my favs, any help would be much appreciated, thank you for taking the time.


Hello ddrumbum

Look at posts 922 and following in the thread...

[ZDrums24]

I was wrong about one part. the fourth repitition of the 7/16 groove in the 7/4 bar is not that simple. the first bass hit is shifted one 16th

b--b-s-b--b-s-b--b-sb---b-s- (i think... i always suck at tabbing things)

[ddrumbum]

Thanks everyone, that totally makes sense and I actually think I have it down, what a cool groove.

[Mr. Cloggy]

Hi gavin !
Just got back from the Amsterdam gig and the performance and setlist where awesome ! I loved your drumming and it was cool to see some spotlights on you at certain parts in the set.

But one thing, why was the sound so bad? The sound was very distorted due to loud basses (that was already a problem with the support act (who where they? They didn't introduced themselves) ) and I noticed some people leaving the show because they couldn't stand the sound and some even got sick of it which is a shame I think as the performance really blew me away ! (well at least your drumperformance did !)
Last year at paradiso, the sound was also pretty distorted and too loud but the venue size compromised a bit for that. I always use earplugs (to protect my hearing as its valuable for me as a musician and producer) but even I am have problems with my hearing after the concert...

Please tell the other bandmembers that they rocked and pass a compliment to Lasse who did a terrific job on the visuals! I really love the work he does for PT !

Shame about the sound really. In the Effenaar, Eindhoven everything sounded great, if very loud (forgot my earplugs, whoops). The support band was 'Pure Reason Revolution' and they were pretty good I thought, but a bit sample heavy. Agreed on the visuals, I really dig that Tool inspired start/stop video, altough I forgot which song that was. What was the setlist in Amsterdam?

[SantiBanks]

Shame about the sound really. In the Effenaar, Eindhoven everything sounded great, if very loud (forgot my earplugs, whoops). The support band was 'Pure Reason Revolution' and they were pretty good I thought, but a bit sample heavy. Agreed on the visuals, I really dig that Tool inspired start/stop video, altough I forgot which song that was. What was the setlist in Amsterdam?

It was something like this:

Fear of a blank planet
Lightbulb Sun
My Ashes
Anesthetise
Gravity Eyelids
3
Sentimental
Drown with me
Open Car
Blackest Eyes
Way out of here
Sleep Togheter

Even Less
Mother & Child devided
Halo

There where some more songs but can't remember them (there was 1 I didnt know myself) and the order is not fully correct. So I hope someone has better additions

[Burger]

Thx for posting the setlist!

Can't wait -> see you on saturday Gavin! :)

Greets,

Burger

[Gavin Harrison]

Hi ZDrums24

I was wrong about one part. the fourth repitition of the 7/16 groove in the 7/4 bar is not that simple. the first bass hit is shifted one 16th

b--b-s-b--b-s-b--b-sb---b-s- (i think... i always suck at tabbing things)

Actually it should be that all four 7/16 groups are the same

b--b-s-b--b-s-b--b-s-b--b-s-

cheers
Gavin

[ZDrums24]

haha! i cant believe i messed that up.

[Drizzle]

Hey Gavin,

Great show Thursday, although the sound could have been a little better, but I know that's out of your hands.

I noticed again, just as on the many DVD's and other video's I watched of you, that your hi-hat is flopping around quite a bit, when you 'rock' out. How come?????

I tried many different washer tensions on my top hat but I don't even come close to yours, even when I use the drop clutch and have it rest on the bottom head, I have to hit it real hard in order to get it to bounce around like yours.


Greetings,
Dre

PS, nice 'illusion' in the intro of Halo, was it a 16th note displacement???

[Mustykat]

Hey Gavin. Sorry to bother again about the snare. I was wondering if the designer snare (12x5) that you mentioned is the same as the artist series. Somebody told me that Sonor had recently changed the name of the line. Also, when I look at the description, it says that the snare has a nice, high pitched, crack to it. But when you are playing it in "So What" on your dvd, and on various other tracks, the snare seems to have a nice, round, body to it. Your opinion? Again, my apologies about the snare questions. Thanks a lot!

[Gavin Harrison]

Hi Drizzle,

I noticed again, just as on the many DVD's and other video's I watched of you, that your hi-hat is flopping around quite a bit, when you 'rock' out. How come?????

I used to have the top cymbal of the hi hat really tight, but I ended up breaking it when I was 'rocking out' on open hi hat sections. Then I went the other way and thought that it was better to let them breathe and flow, and I think they sound better that way too. I just have a regular DW drop clutch set fairly loose. I like to keep the gap between the hi hats really wide (or as far as the Cobra clutch will allow) so that I have the most control over them.
If you have the gap between the cymbals very small (I've seen some players have them about a 1/4 or 1/2 an inch) you lose the chance to control the amount of 'slosh' when playing open hi hat. Also the chance to really 'chick' and 'splash' the hi hats with your foot gets greatly diminished.

PS, nice 'illusion' in the intro of Halo, was it a 16th note displacement???

I can't remember - sorry.

Hi Mustykat

Sorry to bother again about the snare. I was wondering if the designer snare (12x5) that you mentioned is the same as the artist series.

I haven't played that exact one. I noticed it was birch. The white one I use on the DVD and the one I have with my SQ2 kit is maple 6 ply.

cheers
Gavin

[Drizzle]

I experimented with the distance between the washers of the top hat but there's only a small range in where it still works, because when the gap gets to big between the washers the top hat moves up and down between the washers, and then when you 'chick' the hats there's a double action, first the top hat hits the bottom hat and then a milli second later the top washer hits the top hat. And when opening it's the reversed action.

I have a Pearl drop clutch which has rubber washers so maybe it's better if I change them to felt ones. The rubber ones have less contact with the hats but are also stiffer than felt ones.

I guess the only way to achieve the same amount of slosh without a Cobra clutch would be to keep a little bit of pressure with the foot on the pedal.

Thanks for sharing your ideas,
Drizzle

[Gavin Harrison]

Hi Drizzle,
I never do the 'slosh' with the cobra clutch (that's reserved just for a closed sound), it's always done with some controlled amount of foot pressure. I know what you mean with the pearl rubber washers - I tried those too. My felts are still touching the cymbal - they are not so loose that there's a gap - and you get that double action - I really don't want that. I guess I'm hitting the cymbals pretty hard to get them moving that much.

cheers
Gavin

[Burger]

Hey Gavin,

great show last night! Amazing sound!

Greets,

Burger

[Scone]

Hello Gavin

I was listening to Fear Of A Blank Planet and theres this little drum solo thing in the middle. It's about 5 minutes in. I was asking people on the Marliion forum and the suggested to ask you ao I was wondering how you did it. I'd love to be able to play it. Being a young inspired musician n all..

Thanks

Daniel

[Rick van Dunn]

hello gavin,

I''m considering to buy a Sonor SQ2 kit and I was wondering witch finish you had on the kit you used in Holland (Eindhoven, Effenaar, 26-6-07), I really liked that finish but I can't find it anywhere.

Greetings,

Rick van Dun

[ddrumbum]

GAVIN PLEASE READ,

I have to first say I am incredible proud of myself, 6 mths ago I could not get this down to say my life, I am playing Porcupine tree's The Sound of Muzak off there in absentia album, learning this song as good as I have(not prefect, but pretty good)just makes me so happy, I love Porcupine tree and Gavin Harrison's drumming is incredible, and to be able to even come close to playing one of there songs is a HUGE honor to me, so Gavin if you stumble upon this, I hope it makes you proud, and thank you for being such a huge inspiration in my drumming.

Hope you like it GAVIN
http://www.youtube.com/watch?v=w_8bxCVoew8

[Gavin Harrison]

Hi Scone,
I think this fill has been covered before - please have a look back over the previous pages and see if you can find it.

Hi Rick van Dunn

I''m considering to buy a Sonor SQ2 kit and I was wondering witch finish you had on the kit you used in Holland (Eindhoven, Effenaar, 26-6-07), I really liked that finish but I can't find it anywhere.

I'm sorry to tell you that the finish (Tribal) has been discontinued.

Hi ddrumbum,
well done!! The only thing I would say is that (in the verse) your hi hat pattern needs to be just straight 8th notes with heavy 1/4 note accents. Thanks for the kind words. Keep up the good work.

cheers
Gavin

[ddrumbum]

Hi ddrumbum,
well done!! The only thing I would say is that (in the verse) your hi hat pattern needs to be just straight 8th notes with heavy 1/4 note accents. Thanks for the kind words. Keep up the good work.

cheers
Gavin

Thank you Gavin, I appreciate it alot, that means the world to me, you have no idea, you saying "well done" is such a HUGE compliment to me, thank you.
I will work on the verse.

[Scone]

Thankyou Gavin! you're amazing :) I'm a big fan of yours

[volume_3]

Hi volume_3

I'm having trouble figuring out time signatures though, Gavin you seem to be quite the mathmatician when it comes to the drums, do you have any tips for counting time signatures, and working them out?

You get used to the sound of 7 & 5 & 9 they just have a sound to them that (when you're familiar enough with them) you instantly recognise.

Some compound time signatures are a bit more tricky to hear. Maybe it's a time signature like 19/8 but inside that you can hear two 7's and a 5. Sometimes I have to just sit and count through it carefully until I reach the obvious repeat point in the rhythm.

I have a method of count odd groupings that is explained on my last DVD Rhythmic Horizons - you might find it useful to see it.



Thankyou for your reply Gavin!

I think im starting to get used to 7, i still need to work some of the others out. Im going to try and get your 2 DVDs asap, but only one is available from the Burning Shed at the moment and thats the second, It would seem wiser to get the first DVD first, so when it comes back in stock, or If i find it on Amazon I'm going to get them.

I also wanted to ask, do you get nervous before you go on stage? If so, how do you try to tackle this?
Also, which is your favourite song to play off your solo album 'Sanity & Gravity'? Which is great by the way!

[Shauno]

Hi Gavin
I've recently become aware of your work (mostly with Porcupine Tree) and just thought I'd say that you have given me a new light of inspiration with my drumming technique! Your drumming is totally stunning both technically and sound-wise with the way you tune your kit.
I have recently got hold of Deadwing and Fear Of A Blank Planet and have been blown away with the song writing and your drumming perfection WOW! Great job! I'm addicted to the songs F.O.A.B.P and Anethsetize (love that double pedal work and syncopated fills!)

Thank you for your time and thanks for answering all questions on these forums! It means a lot to all your fans, myself included!
Can't wait to see you if Porcupine Tree tour Australia!

Cheers from a new Aussie fan for life!
Shauno.

[Gavin Harrison]

Hi volume_3


I also wanted to ask, do you get nervous before you go on stage? If so, how do you try to tackle this?
Also, which is your favourite song to play off your solo album 'Sanity & Gravity'? Which is great by the way!

There have been times in my life where I have been nervous - but it's usually on the first couple of shows of a new tour (or clinic show). After I get past the first couple I'm fine with it. I tell myself this : In my life I've spent more time behind the drums than anything else (other than sleeping) - it's the most natural thing I can do - it's my natural environment. I just need to relax, think about the music and everything will flow.

It's a real quandary - because you get nervous in the anticipation of making mistakes - and going on stage feeling like that - will probably guarantee that you do. You've got to relax and concentrate on the music. DON'T think that a few beers (or whatever) before the show will help - it won't - it will just mess with your perception and fool you into thinking it sounds ok.

I haven't listened to "Sanity & Gravity" in a long while - but I always enjoyed the track "Witness" because it reminded me of my Dad (who was a trumpet player).

Hi Shauno,
thanks for the kind words - we'd love to get out to Australia one day - I really hope it happens.

Cheers
Gavin

[germangavinfan]

hi folks

im new at this thread and im from germany so don't give something about my english
(it's horrorble i know)

i just want to say that its great to get the opportunity to have discussions with your fav drummers around here and to ask them questions about technique and stuff arround the drums, i think thats a really cool idea :)

@gavin
i love your style and your kind of musical playing in a song.it's all very fluently and way impressive.
i really like your doublebass-setting. it's not just this in-16-time-machinegun-firing (oh god i hate that) al these little winks and settings sounds really great!!!!
But thats not everything....Your handwork is just phenomenal!!!
How you work with all this kind of bells and splashes it's really a masterpiece of musical art.

i hope you read this and maybe you answer it (i really hope so)
all the best and greetings of a PT-Fan from Germany

(oh forgot to say: i just listened to "Fear of a blank Planet" i'ts so great.
A truly piece of Prog/Rock Art)

[TitanSound]

we'd love to get out to Australia one day - I really hope it happens.




Just a quick question Gavin, who actually decides where you tour then? Is it based on what the record company wants or other factors? I've always been curious as to how destinations are selected (other than CD sales/popularity of course)

[Gavin Harrison]

Hi germangavinfan,
thanks for the message and kind words.

Hi TitanSound,

who actually decides where you tour then? Is it based on what the record company wants or other factors? I've always been curious as to how destinations are selected (other than CD sales/popularity of course)

It's a combination of record company and agent - but usually the financial factor takes over somewhere along the way. As you might imagine flying all the band, crew and equipment to somewhere like Australia is very expensive. Also when you consider that we could only really play the major cities like Sydney, Perth, Brisbane, Adelaide, Melbourne etc. so we'd have to fly everyone (and all the equipment - nearly 2 metric tonnes of it) between each show. We're not the kind of band who pick up a guitar amp, a fender rhodes, and a 4 piece drumkit at every show. Then on top of that there's transport considerations to and from airports (buses and trucks) and hotels for everyone, and of course crew wages, agent commissions, visa costs, per diems, it all adds up to a small fortune.
So a trip like that needs to be very carefully planned and considered before you set off. It has nothing to do with the fact that we'd love to come and play in Australia.

cheers
Gavin

[angelo]

hi Gavin im Angelo how are you? i'm from Acireale (sicily), do you remember? We have eaten after drum worshop in Capomulini with Enrico DiBella, yours workshop for me was very useful and still today i'm using what i learned from you. many, many thanks.

[volume_3]

Hi volume_3



There have been times in my life where I have been nervous - but it's usually on the first couple of shows of a new tour (or clinic show). After I get past the first couple I'm fine with it. I tell myself this : In my life I've spent more time behind the drums than anything else (other than sleeping) - it's the most natural thing I can do - it's my natural environment. I just need to relax, think about the music and everything will flow.

It's a real quandary - because you get nervous in the anticipation of making mistakes - and going on stage feeling like that - will probably guarantee that you do. You've got to relax and concentrate on the music. DON'T think that a few beers (or whatever) before the show will help - it won't - it will just mess with your perception and fool you into thinking it sounds ok.

I haven't listened to "Sanity & Gravity" in a long while - but I always enjoyed the track "Witness" because it reminded me of my Dad (who was a trumpet player).

Hi Shauno,
thanks for the kind words - we'd love to get out to Australia one day - I really hope it happens.

Cheers
Gavin

Thankyou for your reply :-)

[TitanSound]

Thanks Gavin...I always imagined touring was a costly business but reading your reply has really made me realise how much planning, effort and money is involved.

[YtseJammer03]

Hey Gavin!

New Porcupine Tree fan here. ;-) I started listening to In Absentia, then I got Fear of a Blank Planet, and the music just blows me away!

I also wanted to say Congratulations on winning the "Best Progressive Drummer of the Year" award from Modern Drummer! As you can see from my user name that I'm a Dream Theater fan, and Mike Portnoy has won that category for 12 years in a row. I think it is great that you were the one to win it this year!!

Thanks man,
~Kyle

[ZDrums24]

I have a question about your influences from a technical stand point. Did you ever partake in any sort of rudimental drumming/marching arts?

On one of the vicfirth.com videos, I noticed some licks that look like what the marching nuts call 'grandmas.' these are basically paradiddlediddles with the last note replaced with a rest and all the left hand notes (assuming you are leading with the right) are accented. you could also look at it as taking a herta and turning the third note into a diddle. I don't see these much outside of the marching world (probably because most of the nuances are lost in the broader sound of the drum kit). Your louder diddles are also very clean, which is another thing not exactly typical of a drum kit player in my experience.

but, yea, just wondering.

Austin

[cfdrumr]

gavin...

i was watching cymbal song the the live DVD, and when you were playing the chimes, I noticed they had Zildjian logo's on them. I know you spoke about how you made the chimes, and since we last spoke, I have made 2 for myself. I am just wondering...did zildjian make some for you aswell?

[hauk]

My bad.

20202020202020

[Gavin Harrison]

Hi Angelo & YtseJammer03,
thanks for the kind words, and welcome to the forum.

Hi ZDrums24,

Did you ever partake in any sort of rudimental drumming/marching arts?

no I didn't, but I studied the Charlie Wilcoxen book and Fred Albright's "Contemporary Studies for Snare Drum" and maybe that's where some of the stuff came from that's sneaked into my drumset playing.

Hi cfdrumr,

i was watching cymbal song the the live DVD, and when you were playing the chimes, I noticed they had Zildjian logo's on them

Zildjian did make me some prototypes and one of them fitted very well with the set. That's why you can see the logo.

cheers
Gavin

[cfdrumr]

thanks Gavin!

The chimes I have already made from old cymbals are great! Thanks for the help!

Have you ever played the Paiste Cup Chimes? Whats your opinion on them?

[bleen]

Hi Gavin,

Can you detail the kick pattern at 11:17 in "Anesthetize"? It doesn't sound like straight 16ths or 32nds but it's also difficult to make out the exact pattern at that speed.

Thanks!

don

[cdrums21]

Hi cdrums21,
here's the tuning of my toms from a couple of months ago

tom 5 lowest
tom 4 augmented 5th above tom 5
tom 3 augmented 5th above tom 4
tom 2 perfect 4th above tom 3
tom 1 perfect 5th above tom 2

So tom 5 seems to be G
tom 4 Eb
tom 3 A
tom 2 D
tom 1 A

I think the bottom heads are a little tighter than the top ones.

Cheers
Gavin

OK Gavin,
One last question about this tuning. Thank you for answering in the first place.
You say that the largest floor tom seems to be tuned to a G on top, right? I'm assuming that it's a 16" tom? Man, if that's the case I can't for the life of me see how it can be tuned either that low or that high. I play a yamaha maple custom absolute kit with a 16x14 floor tom. I also use 2 ply coated heads. I never use any muffling on my toms. I have the 16x14 floor tom tuned to a C on top and a third higher on the bottom. That's pretty low on top. It sounds really good, nice low end punch with just the right amount of sustain. The drum won't go down to a G from the low C and if I tuned it up to a G, it would sound like a boingy rack tom. Do you think there is that much difference in the sonic properties of your 16" tom and mine that the tuning range would be so different? I'm not trying to cop your tuning of the floor tom per se, I was just curious as to where your floor tom was tuned and if you had any special tuning method for reducing the sustain on the larger toms because your drums sound really good on the video clips I've seen. Again, thank you in advance for your reply.

God bless,
Clint

[Gavin Harrison]

Hi bleen,

Can you detail the kick pattern at 11:17 in "Anesthetize"? It doesn't sound like straight 16ths or 32nds but it's also difficult to make out the exact pattern at that speed.

It is 32nds but they're broken up. The pattern is based off the snare accents - which are dotted 8th notes. The way I think of it is like this: Between each snare hit is two 16ths on the bass drum played with the right foot - and following directly between the right foot hits (in 32nd notes intervals) are two strokes on the bass drum played with the left foot - so this makes it R L R L (on the bass drum). It's actually quite easy to play once you get the hang of it - make sense?

Hi cdrums21,

You say that the largest floor tom seems to be tuned to a G on top, right? I'm assuming that it's a 16" tom?


Correct - it's a 16x14. I assume there must be quite a fundamental pitch difference in the shells between your kit and mine.

...if you had any special tuning method for reducing the sustain on the larger toms

Recently I've made an "O" ring for the inside of my 14" floor tom. I felt it was sustaining a little longer than I wanted. I made the ring about a 1/3 of an inch wide and just dropped it inside so it's resting on the bottom head. It acts like a gate and shortens the length of the note. I don't like sticking things to the top head because it changes the attack of the drum.

cheers
Gavin

[fijjibo]

Hey Gavin.

Congrats on your feature in Rhythm Magazine this month.

Tis a good read.

[bleen]

It is 32nds but they're broken up. The pattern is based off the snare accents - which are dotted 8th notes. The way I think of it is like this: Between each snare hit is two 16ths on the bass drum played with the right foot - and following directly between the right foot hits (in 32nd notes intervals) are two strokes on the bass drum played with the left foot - so this makes it R L R L (on the bass drum). It's actually quite easy to play once you get the hang of it - make sense?

Yup - perfect sense! It's easier to hear that pattern now with that information, too.

Thanks again!

[angelo]

Hi Gavin i have bought a keller drum shell and i cut 8x4 snare drum with these characteristics: 8ply 5,3mm maple. Edge 45°:Snare bed 1,8mm Lug Pearl CL05 strainer Pearl SR018. Dixon hoop, Snare wire is a Puresound P1010 cut down 8 The sound is very beautiful.
Now I am constructing a snare drum with keller drum shell birch 10 ply round edge. yours snare drum 8x4 mounts a puresound snare wire? which? And hoops is safe-hoop ? thanks for your infinite patience.Thanks a lot Angelo

[ZDrums24]

Ok, so I'd hate to be a pain, but I used the forum's search engine and went through every page using the browser's find tool, and I can't find the information on the in-ear headphones Mr. Harrison uses. Can anybody tell me what page that was on?
I am looking at in-ear monitors, and at the time, the $150 pair listed on the website Gavin Harrison had a link to seemed expensive. After shopping around, this is actually pretty cheap.

[Gavin Harrison]

Hi angelo,

Now I am constructing a snare drum with keller drum shell birch 10 ply round edge. yours snare drum 8x4 mounts a puresound snare wire? which? And hoops is safe-hoop ?

That sounds interesting - what does 8x4 mounts mean? I use the P-1412 and take off two wires from each side - so there's 8 in the middle. Yes I use Safe-Hoops. I guess you are getting close to my favorite configuration !!!

Hi ZDrums24,
I understand the problem of 'searching' on this thread - and pretty soon I hope to have a solution for everyone - so you don't have to look through 38 pages of Q&A. About the headphone question: At the moment I'm using Sennheiser MX400 inside some custom moulds. I have my impressions made at www.handheldaudio.co.uk and they fitted them with Sony headphones - but I prefer the Sennheiser's because they will go louder without distorting (32 ohms instead of 16 ohms). I also have a pair of "Ultimate Ears UE10's" but I don't enjoy playing the drums with them. They sound 10 times better - but I can't get on with them at the moment.

Cheers
Gavin

[Rhythmic Disciple]

Hey Gavin,

I've been considering getting an SQ2 from Sonor. I was wondering if you could tell me your thinking behind your particular config? I'm assuming you spoke at length to some Sonor guys who are experts on these drums?

I'm particularly interested in why you chose the different shell types for each drum (i.e. Heavy, medium, thin) and how they sound. Did you compare a Heavy bass drum against a medium or thin at the factory?

Thanks for your time. Loved the 19/7 track, and the little quip when you introduced it!!! Believe me, I was in the second category!!! LOL

[Mustykat]

Hi Gavin, after doing some research on Sonor snares, I think i am purchasing the SQ2 12x5 maple medium shell, which is supposedly quite similar to the designer that you play. I was wondering which snares are on that drum, and do you also cut those down to eight? Thanks for all your help.

[angelo]

That sounds interesting - what does 8x4 mounts mean? I just asked what type of snare wire you use in your 8x4 snare drum. I'm happy to know that im close to your favorite configuration :)

Thx, Angelo

[Gavin Harrison]

Hi angelo,
I have some custom Puresound snares on my 8" snare.

cheers
Gavin

[angelo]

Hi Gavin for 8" snare i use: Puresound P-1010 cut down 8", Puresound do not produce 8" of diameter snare wire, so i have tried P1012, but the responsiveness of the wires is too much.
I have done an other experiment with the keller birch drum shell: 15x10 snare drum with floor tom leg and round edge.
This snare is a perfect for ballad music.I use Puresound P1520 for this.

thx Angelo

[Scone]

Hey Gavin

I was watching the video of you playing Futile on your Rythmic Horizons DVD. I noticed there was a strange black ring around the snare and I was curious as to what it was. Is it just part of that particular snare drum or is it an add on of some kind?

Daniel

[Drizzle]

Hi Scone,

It's probably the Safe Hoops (http://safehoop.com/endorsers/gavin_harrison.php) he uses.

Greetz
Drizzle

[angelo]

hi Scone it is a 0" rig muff'l 1inch
Angelo

[Gavin Harrison]

Hi Angelo,
yes that's correct it's just a black "O" ring for muffling. I'm curious - how did you cut down a 10" snare to fit an 8" drum ?

cheers
Gavin

[Fabio]

Helloo Master!!

One curiosity (if i can) :P : How many double pedal does he have??
I know the "Giant step" and that's most expensive :P But is Fantastic!!

[Gavin Harrison]

Hi Fabio,

I have had (and still have in my garage somewhere) many types of double pedal.

OK here's some foot nostalgia

Sonor Giant Step
Axis A Longboards (probably the most expensive)
Pearl Eliminators
DW 5002
Premier (the ones with the rubber bands)
Yamaha (from the mid 90's)
The first and second generation of DW (where I used a Tama flexiflyer in the main position). The DW bit was just the left extension.

Cheers
Gavin

[Fabio]

Thaaaanxx Master

Thanks for the availability!! and thanx for detailed list :P

Reallyy?? ihhihihihhih,
I imagined that he had all this kind of d.p. :)

Teacher, one question: When he will come in italy for a Clinic??????????????
:D :D :D :D

[angelo]

I'm curious - how did you cut down a 10" snare to fit an 8" drum ?
Hi Gavin, I've cut a Puresound P-1010 and then rejoined it in a smaller version that fitted in the snare 8".Puresound do not produce 8" of diameter snare wire.For me, Puresound is best snare wire, the sound so crisp and clean when used in loud volume, but so sensitive and articulate when played with brushes.

cheers
Angelo

[Mr. Hat]

Hey Gavin,
Your drum sound is amazing on the new album. I know that so many variables come into play in achieving such an incredible sound such as head selection, tuning, mic choice and placement, playing technique ect., but I was wondering if could give some insight as to the types of effects (reverb, compression, filters etc.) and/or any tips on EQ/mixing you might have to offer. I know Steven mixed the album but your drums have a signature sound on everything I have heard you on.

Thanks for your time!

[Gavin Harrison]

Hi Mr Hat,
I really like the Waves C1 compressor and I use it on the snare drum and sometimes on the whole drumset (very gently). I like the Space Designer reverb plug-in and I use a tiny bit of the Logic Pro eq. That's about it.

cheers
Gavin

[Fabio]

Hi Master!!

Maybe in this week i will order "Rhythmic Horizons" and "Vision" DVD!! :) :) at last!! :) :)

When will he come in italy??

An embrace!!

Fabio

[Mr. Hat]

Hey Gavin,
Thanks for the reply. There is a TON of great info posted on this thread. I've tried the cotton balls but prefer the 1/3" ring cut from an old head resting against the bottom head of the floor toms.
I have a pretty decent drum sound now. DW maple shells w/ ambassadors (coated top and clear bottoms) toms are tuned fairly low. Nice punch. My problem is sympathetic snare buzz when the 10" & 12" are played. Not a huge amount,but enough that it is noticible on playback (Recording. Live, the buzz is not an issue.). I've tried to tune around the problem but once the buzz is gone, the tone suffers. You tune your drums very similarly and your snare wires don't sound overly tight. How do you eliminate the buzz w/o killing your sound? By the way. My primary snare is a Mapex Black Panther tuned medium-high. Bottom head is pretty tight and very evenly tensioned. There is no snare bed cut into the shell that I can see.

Thanks for taking time to respond.

[deadwing_007]

Hi Gavin,
I just recently got both of your dvds on amazon and they both seem great so far, theres so many good things in them to work on.

I'm not sure how involved you are with the remixes of the albums that already had live drums, but a while back before deadwing came out I read on the pt site that stupid dream would be mixed and released after the deadwing tour and that lightbulb sun would follow after touring was done for the following album. I was just curious if this is still the plan, or if you guys will be taking a break or rarin to go to start work on a new album. I discovered you guys just around the time lightbulb sun disappeared and i've always resisted the urge to download it so that there will be some things i've never heard when it finally is re released. But the kickass version of hatesong that i saw live and thats on the arriving somewhere dvd is making me more and more anxious to get it!

thanks,
John

[ZDrums24]

all this talk of dvds has got me wondering. what is the recomended order for the books/dvds? are they all good stand alone works? should certain material be covered first to ensure a full and easy comprehension of other material?

thanks,
Austin

[angelo]

Hi Gavin,I have watched yours rack, and have inasmuch as you have cut to the left side. How many cm you have removed? Normally this is too much along.
You have tried to use a speaker like additional microphone? what of tasks?
I am using on my kick drum, a Electrovoice microphone ND/868 and a 17 cm woofer -speaker
/50 watt/ 8 ohm. this kick drum is much fat. Often i use this also on the 16" floor tom, bottom head. top head microphone is Electrovoice ND/468(I love it)
thanks a lot
Angelo

[SantiBanks]

Hi Gavin,

I read in an interview that In Absentia used a hired DW kit.

For the rented DW drum kit that Gavin Harrison played, Northfield used a 57 on the snare, 421s on the toms, a 47 and a D112 on the bass drum, “with fairly close double-heads on the bass drum but with probably an air hole in it, but not a large one; just enough to get the mic stand through.” AKG C12s and B&Ks were used for overheads. He recorded a total of 16 tracks of drums, with one mic for each track.

http://mixonline.com/recording/interviews/audio_porcupine_tree/

Did you really record with a rented DW kit on In Absentia? It sounds like the sonor to me (and in fact I think In absentia has one of the best mixes I have ever heared. Everything so audible, clear and detailed but still warm and almost analog).
Especially curious about this as I personally don't like the sound of DW kits. Heared them on a lot of records and heared them live with Genesis, IMHO very overrated and pretty expensive too for the sound it gives. I know "the pro's" use it but I really don't like it. So did you record on a DW?

Thanks !
Santi

[graham rogers]

hi gavin.
just wanted to say hello. it means alot that someone of your status will take the time to read and respond to fanmail.
i have no technical questions for you, but i just wanted to say that everyone who comes to my house (muscian or not) is forced by me to watch "swerve" on your "rhythmic visions" dvd, and everyone loves it.
anyone who gets a mix cd from me, gets "blackest eyes" included on it, so im spreading the porcupine tree word.
thanks again, i would love to see you guys play live sometime, i have been collecting your cd's now for the last three years and am always blown away. its great to find such a fresh band in todays market. as you know, bands like yous are few and far between.
cheers.
graham.

[Gavin Harrison]

Hi Mr Hat

My problem is sympathetic snare buzz when the 10" & 12" are played. Not a huge amount,but enough that it is noticible on playback (Recording. Live, the buzz is not an issue.). I've tried to tune around the problem but once the buzz is gone, the tone suffers. You tune your drums very similarly and your snare wires don't sound overly tight. How do you eliminate the buzz w/o killing your sound? .

This is why I started cutting down snare wires in the first place - it seemed that the outside ones were a bit looser and were buzzing the most. When I started using Puresound snares wires everything got easier because they are very well made and tensioned in the manufacturing process. Other than that - the most obvious thing is the pitch of the snare against the toms. I turn off my snares and compare the pitch of the snare drum to the toms that are buzzing. If the pitch is close then I know there's going to be some buzzing problems. You never really get rid of all of it - but careful tuning and really good snare wires help.

Hi ZDrums24,

what is the recomended order for the books/dvds? are they all good stand alone works? should certain material be covered first to ensure a full and easy comprehension of other material?

I would suggest the first book "Rhythmic Illusions" and the DVD "Rhythmic Visions" before the second book "Rhythmic Perspectives" and the latest DVD "Rhythmic Horizons". That way you'll get a handle on some of my concepts that develop in the later material.

Hi angelo,

I have watched yours rack, and have inasmuch as you have cut to the left side. How many cm you have removed? Normally this is too much along.
You have tried to use a speaker like additional microphone? what of tasks?

I cut the rack about 12cm - but later I went back to a full length bar again. I tried the "Sub Woofer" in front of the bass drum and it worked well - but personally I didn't like it.

Hi SantiBanks,

I read in an interview that In Absentia used a hired DW kit.

Correct. It was during the first week of me switching from Pearl to Sonor and there was a big mix up when I got to NY - so in a panic I got a studio rental company to send me over a DW kit. It sounded good in that room at the Power Station - but the room is so good - I imagine almost any 'pro' kit would.

Hi graham rogers,
thanks for the kind words.

cheers
Gavin

[TomasHakkesBrain]

Hi Gavin,

Can you tell me what foot technique you use for your offbeat quintuplets and other cool things like in Futile and Anesthetize. Im stuck in a rut playing hand hand foot foot things which is driving me nuts..can you point me to a publication you cover this in or give me any tips. thanks

[Braui]

Hey Gavin!

The concert in Leipzig was just amazing! Great setlist and of course great drumming!
Unbelieveble that your crash breaks after the first song....
Did you have an complete backupset for all cimbals?
By the way, i was very pacified that you missed the end of "mother and child divided", very funny and very humanely. You did a really great job this night.

Thanks for this special experience, maybe you can spare a stick next time.

All the best

Robert

[K.Howden]

Hi Gavin, how are you? Firstly I'd like to say thankyou for being a great inspiration and helping me to make my playing more mature, I used to go for the Portnoy approach using as many chops as I could, but after listening to your playing and hearing how Organic it was, it made me soon realise that chops are not everything and that drum parts that are less 'busy' can also at the same time still retain their technicality by using other concepts.

Anyway my main question is about Metric modulation concerning the below pattern:

http://farm2.static.flickr.com/1269/770384107_26e395c0d4_o.jpg

I was sat at the drum set one day played this Pattern which I then decided to transcbribe. Once I'd transcribed the Pattern it appeared to be in 21/16 and at 110BPM, but I soon found that it was a rather hard to use time signature when writing in other instrument parts to it (I also write Guitar, Bass, Keys etc...) I looked at the pattern and decided to use Triplets in place of dotted Quavers and found if I played it around 70 BPM ish that the pattern was for all intents and purposes the same but in 7/8 which I found much easier with which to add other instruments.

My question is how exactly do I work the exact Metric Modulation and shift in Tempo as I know very little about this concept other than subsituting normal Note Lengths for Triplets, changing the Time Signature and slowing the Tempo has the effect of making the Pattern exactly the same.

Hope you're well and thankyou for any help you can offer,

Kev

[Gavin Harrison]

Hi deadwing_007


I read on the pt site that stupid dream would be mixed and released after the deadwing tour and that lightbulb sun would follow after touring was done for the following album. I was just curious if this is still the plan,


I believe this is still the plan.

Cheers
Gavin

[Gavin Harrison]

Hi TomasHakkesBrain,

Can you tell me what foot technique you use for your offbeat quintuplets and other cool things like in Futile and Anesthetize. Im stuck in a rut playing hand hand foot foot things which is driving me nuts

I'm not quite sure what you mean by "offbeat quintuplets" - but I understand about the "getting stuck in a rut" thing. That's why I started thinking about rhythmic manipulation with displacement and modulation, and how to conjure up variations. Maybe try "hand hand foot foot foot". Sometimes the foot parts could be the same subdivision as the hands, and sometimes they could be a triplet. Then try "hand hand hand foot foot" and apply the same rules as before. Then mix the two of them up - voice the hands across different drums/cymbals - that should generate a huge amount of variation.

Hi Braui,

Unbelieveble that your crash breaks after the first song....
Did you have an complete backupset for all cimbals?
By the way, i was very pacified that you missed the end of "mother and child divided", very funny and very humanely.

Yes, I noticed a crack in it half way through the first song and luckily I do carry a few spares with me, so I was able to swap it out between the first two songs.

Hi K.Howden,

Once I'd transcribed the Pattern it appeared to be in 21/16 and at 110BPM, but I soon found that it was a rather hard to use time signature when writing in other instrument parts to it (I also write Guitar, Bass, Keys etc...) I looked at the pattern and decided to use Triplets in place of dotted Quavers and found if I played it around 70 BPM ish that the pattern was for all intents and purposes the same but in 7/8 which I found much easier with which to add other instruments.

When you say you played it at 110bpm, was that against a quarter note click? In other words does the click line up with the cymbal hits or not?
I think what you have here is the difference of 4 sixteenth notes equalling a click pulse and three 16th notes equalling a click pulse and thinking of it as triplets.
There's quite a lot of this type of thing in my second book "Rhythmic Perspectives". It looks at odd patterns from different points of view. Even though the result may sound the same - thinking of it in a different time signature or subdivision base may make it easier (or harder) to play. It's interesting how the mind organises what it hears.

cheers
Gavin

[K.Howden]

When you say you played it at 110bpm, was that against a quarter note click? In other words does the click line up with the cymbal hits or not?


I hadn't played it aloud using a metronome as I've never used a metronome whilst playing (somthing I feel I should remedy) but I transcribed the pattern on to paper then programmed the pattern into Arobas Guitar Pro5 so I could hear it played back and I set the tempo to 110bpm which was roughly the speed in which I was playing it. Sadly with Guitar Pro you can't set the subdivison the Metronome plays and it just plays the click in Semi-Quavers (sixteenths).

Thanks for taking the time to reply,

Kev

[SantiBanks]

Hi SantiBanks,

I read in an interview that In Absentia used a hired DW kit.

Correct. It was during the first week of me switching from Pearl to Sonor and there was a big mix up when I got to NY - so in a panic I got a studio rental company to send me over a DW kit. It sounded good in that room at the Power Station - but the room is so good - I imagine almost any 'pro' kit would.


Interesting to read this and especially to hear it ! Never had the idea that DW could sound that good ! But then I guess there are just so much factors making a drumkit sound good. I think its one of the most difficult instruments to handle as a recording engineer to get miked up properly and getting mixed well...

It also convinced me of saving more money for a drumkit as it seems the difference in sound can be pretty big between the budget kits and the more pro kits.

Still, kudos for your drumming and the sound of your kit on the last 3 albums. Everytime I hear it, Im still shocked and blown away by the performance and the sound. Guess they dont make drummers like you much these days ;)

What was btw the reason for switching to Sonor if I may ask? Did you like the sound more?

[Drizzle]

Hey Gavin,

What kind of throne do you have? And what where the reasons you chose that one?

Greetz,
Andre

[Gavin Harrison]

Hi SantiBanks,


What was btw the reason for switching to Sonor if I may ask? Did you like the sound more?

I switched to Sonor because I liked the sound of the drums and I felt like it would evolve my sound in a way I wanted to go. I really liked the guys from the factory and started a great positive relationship with them.

Hi Drizzle,

What kind of throne do you have? And what where the reasons you chose that one?

At the moment I've got a Roc N Soc seat on a Gibraltar base. I've tried many different stools - but for me this seems the most comfortable and secure.

cheers
Gavin

[dairyairman]

gavin,
i have an observation and a question for you. i've been listening a lot to your cds and i've noticed that you don't repeat yourself very much. even when you're playing a groove in a verse, you often play things a tiny bit different from measure to measure, or you play repeating patterns that span more than one measure. you would never be mistaken for a drum machine, that's for sure! my question is, do you make a conscious effort not to repeat yourself or is that just something that comes naturally?

[Andrew_AUS]

Hi Gavin!

As a drummer and a long time PT fan I find it a huge privilage to speak to you - even if it's over the internet. I've read the whole thread (yes its taken a while, but worth it). I'm amazed that you can be so friendly and give so much time to your fans by answering questions, it speaks volumes.

Originally back in the day I was bummed that Chris Maitland had left the band prior to In Absentia, but instantly after listening to you play on IA, my new drumming Idol was instantly confirmed. Over the years you have been a massive influence to me and how I approach my drumset. Anyway enough with the gushing, I've got a couple of quick questions for you!

- You seem to have a uncanny sense of time. In one of my favourite songs "The Start of Something Beautiful" the verse is in 9/4 and there is a section of build up where you just improv - leading into the bridge (~4:20). Do you keep count of the 9/4 in your head, do you listen to the bass line or do you just *know* where you are? I always seem to get a little lost (especially when improvising). So when coming back in with a fill to the verse groove, I find it difficult to just 'nail' the timing. Any tips?

- In a similar vein to the above question in the "Arriving Somewhere" version of 'Halo' you start proceedings with a sweet fill which starts on the 3 "AND" of the bar. The start of the fill seems displaced backwards 3/8ths. Did you improvise that fill and just "feel" the time behind it or do you have a bunch of fills that are 11/8ths in length and you pulled one out at the right moment? Those sort of time illusions always mess me up when attempting them. Any help would be appreciated.

BTW I have both your DVD's so if there are particular sections in those that might help, I'll check them out.

Anyway, All of us PT fans are eagerly awaiting you to come to Australia.

(I'm sure Colin Edwin would enjoy coming back to his home town - I belief he was born in Melbourne!?).

Cheers from Melbourne, Aus,

Andrew

[bago]

Gavin played on sam browns stop. iv learnt a great deal out of gavins books. im just wondering if you read this gavin. did you ever have any lessons of colin wilkinson in watford i remember he used to give lessons in a sound proof room in the garden. there was a tama kit in there and it sounded wonderfull. do you remember him

[Drizzle]

Hi Drizzle,

At the moment I've got a Roc N Soc seat on a Gibraltar base. I've tried many different stools - but for me this seems the most comfortable and secure.

cheers
Gavin

Does it says Roc N Soc on the stool or Gibraltar like below, there seems to be two types.
On the Roc N Soc website they all have a Roc N Soc logo.
They are probably the same but just curiuos.

I have been considering them for a long time, but as there are no stores here in the area who has some in store I cannot try them before I buy them, finding a store here in Holland who actually sells them is already a challange.

But they look like they are very comfortable.

BTW Do you have your seat in a fixed position or can it spin around, when moving side to side on the drumset.

Thanks a bunch,

Dre

[Mustykat]

quick question gavin: which snares do you use on your 12x5 designer?

[Gavin Harrison]

Hi dairyairman,

i've been listening a lot to your cds and i've noticed that you don't repeat yourself very much. even when you're playing a groove in a verse, you often play things a tiny bit different from measure to measure, or you play repeating patterns that span more than one measure. my question is, do you make a conscious effort not to repeat yourself or is that just something that comes naturally?

I don't make a conscious effort to change things bar to bar - I think it must be something that just happens naturally.

Hi Andrew_AUS

In one of my favourite songs "The Start of Something Beautiful" the verse is in 9/4 and there is a section of build up where you just improv - leading into the bridge (~4:20). Do you keep count of the 9/4 in your head, do you listen to the bass line or do you just *know* where you are?


I just sing the bass line to myself and I don’t get lost.

In a similar vein to the above question in the "Arriving Somewhere" version of 'Halo' you start proceedings with a sweet fill which starts on the 3 "AND" of the bar. The start of the fill seems displaced backwards 3/8ths. Did you improvise that fill and just "feel" the time behind it or do you have a bunch of fills that are 11/8ths in length and you pulled one out at the right moment?

I believe that fill is just triplets in groups of 5 - I can start something like that in any place in the bar and just ‘hear’ when to resolve it and come back on to a downbeat in 4/4. It was improvised ‘on the spot’ - although I’ve played that grouping of 5 (in triplets) before - I don’t think I’d played that kind of fill (in that song) starting in that place in the bar before.

BTW I have both your DVD's so if there are particular sections in those that might help, I'll check them out.

Have a look at the section called “Polyrhythmic Resolves” on the Rhythmic Horizons DVD.

Hi bago

did you ever have any lessons of colin wilkinson in watford i remember he used to give lessons in a sound proof room in the garden.

I remember Colin Wilkinson used to teach at Hammond’s Music Store in Watford - but I never had lessons with him.

Hi Drizzle

Does it says Roc N Soc on the stool or Gibraltar like below, there seems to be two types.
On the Roc N Soc website they all have a Roc N Soc logo... Do you have your seat in a fixed position or can it spin around, when moving side to side on the drumset.

I’ve got both types - and as far as I can tell - they’re the same. I don’t spin around on the seat when I’m moving around the drums.

Hi Mustykat,

which snares do you use on your 12x5 designer?

On my old white one - I still have the original Sonor 24 strand. On my new SQ2 (tribal finish) one, I use a Puresound 12 strand. Both sound good to me.

Cheers
Gavin

[DTrocks]

Hi Gavin! I love your work with PT! But when will the cd with you and 05ric be realeased ? I´ve been listening to it on myspace and i asolutley love it! its absolutley insane!

[Gavin Harrison]

Hi DTrocks,
I've just got back off tour with PT - so now I'm going to start finishing the GH 05Ric project. We hope to have it out end of August/early September.

I'm really excited about it - I think it's going to turn out to be one of the best things I've ever been involved with.

cheers
Gavin

[angelo]

Hi Gavin,Have you tried to use a Neumann U 47 Fet like additional microphone in kick drum? What do you think about?.
I am trying to study the double pedal, I could use the book syncopation?
or which other book? I am using the book of Bobby Rondinelli: “The Encyclopedia of Double Bass Drumming”, but I would want to know to use the feet like the hands, roll, ruff, paradiddle, and many more.
I hope you can come in Sicily and play with the “Porcupine tree” to the Greek theatre of Taormina I would be much happy of this.

thanks for your time
Angelo

[DTrocks]

Do you have any tips for tuning the bassdrum? how do you tune your drums?

I missed your concert in norway last week! :( I hope you guys come back here again soon!

[Sol Good]

[QUOTE=DTrocks;336025]Do you have any tips for tuning the bassdrum? how do you tune your drums?QUOTE]

Toms:
http://www.drummerworld.com/forums/showpost.php?p=319943&postcount=1157

BD:
http://www.drummerworld.com/forums/showpost.php?p=181494&postcount=217

[scottkahn]

Hello all,

Porcupine Tree are featured this mont at http://www.musicplayers.com, and we published a fantastic interview with Gavin!

The direct link to Gavin's feature is
http://www.musicplayers.com/features/drums/2007/0707_Gavin_Harrison.php

but just go to our homepage for the main feature (which has links to the interview).

Enjoy,

Scott Kahn
Editor in Chief
MusicPlayers.com

[dairyairman]

that's a great interview! i enjoyed it a lot. i saw that gavin even mentions his drummerworld thread in there.

[Gavin Harrison]

Hi Angelo,

Hi Gavin,Have you tried to use a Neumann U 47 Fet like additional microphone in kick drum? What do you think about?.
I am trying to study the double pedal, I could use the book syncopation?
or which other book? I am using the book of Bobby Rondinelli: “The Encyclopedia of Double Bass Drumming”, but I would want to know to use the feet like the hands, roll, ruff, paradiddle, and many more.


yes I have tried a Neumann u47 just in front of the front skin of the bass drum. It sounds great. I don't know which books to study for double bass drumming. I'm not really a double bass drum player - so I'm not a good person to ask. If you want to use your feet - like your hands - then I'd probably suggest studying a snare drum book.

Hi scottkahn

Thanks for the interview!!

Cheers
Gavin

[SantiBanks]

Hi Gavin !

I took some time to listen to your new project and Im impressed ! I cant wait till its out in the stores. I like it very much so far !
Is 05ric using a chapmanstick? The site says extended range bass but it looks like some kind of chapmanstick (it also sounds like one. Tony Levin uses the stick a lot aswell as Adrian Belew from King Crimson)

I know you like the music from pat metheny a lot. I was wondering if you are into jazz drumming yourself and have done some jazz projects in the past (if so, which ones? Im very curious about that and love to hear it !). If not, is it something you want to do someday?

Thanks
Santi

[Gavin Harrison]

Hi SantiBanks,

Glad you like it. I'm REALLY happy with it. I think it's the best thing I've done so far. I don't think 05Ric is playing any stick on this new project.
I haven't played any jazz in such a long time - I'd love to but I never get asked!!

Could be a good project for the future though.

cheers
Gavin

[SantiBanks]

Gavin,
Is release still sheduled for sometime august? In that case, makes me a nice b-day present for me...

Maybe the jazz guys don't ask as you are more known as a rock drummer then a jazz one... If you ever find yourself in a jazz setting, let us all know here ! Im sure many are interested (well at least I am...)

I was reading the interview (couple of posts back) and noticed that you are doing session work from pretty young on and later on getting your own drum studio etc. Id like to have my own drum and production studio in a couple of years and maybe do session work too. Any tips for this?
Thanks again,
Santi

[crookedrook]

Hello Gavin,

Question about the sound and tone of your SQ2 drums. I have a set of DW's that are quite the resonating drums and they sound great, but they ring WAY to much. I know you place rings on the resonant head on the inside of the tom, but do you put anything on the batter head, at least the batter's underside to decrease the ring?

Thanks,
Rob

[Gavin Harrison]

Hi crookedrook,
I don't use any dampening other than the "internal" O ring on the 14" floor tom.
I have - in the past - with other drums reverted to loops of Gaffa tape (duck tape?).

Now that I'm using the Safe-Hoops on all my toms - I have made some O rings that would rest on the top head and just under the inverted rim - but I haven't found that necessary so far.

With the SQ2 there is the Sonor acoustic dampening system (I can't remember the exact name) - this was a feature from the Designer drums. It means that you can have more (or less) of the vibration passed through to the hardware with the adjustment of a knob. I utilise that a bit.

cheers
Gavin

[graham rogers]

hi gavin. its called "acoustigate" glad you are a pat metheny fan! there are not enough of us around. offramp is an incredible album!
i have never been able to figure out what dan gottelieb is doing in the drum break of the track "eighteen" and probably never will.....
dont laugh lol

[JeffV71]

Hi Gavin,

I've heard a lot about these S-Hoops lately. Just for clarification, are you now using them on the tops and bottoms of the toms (snare drums too)? What prompted you to give them a try on the rest of your toms? Lastly, is there a definite difference in sound on the playback (after tracking)?

Thanks
Jeff

[Gavin Harrison]

Hi JeffV71,
I'm using the S-Hoops on the tops of the toms and top and bottom of the snare.
I originally got curious about them after reading a review in Drummer magazine. They seem to make sense to me - and because I'm someone who likes using "O" rings I though it would be a great way to stop them flying off mid tune. Carrying on that idea I thought it would be good to try them on the toms too. They do subtly change the sound of the drum (for the better in my opinion) and they have a rigidity to them like die cast but without the tone sucking weight.
Plus, of course, it's impossible to damage your bearing edges once they're on.

Cheers
Gavin

[xopethx]

Hello Gavin!

I'm pretty new here, but i have a few questions for you -

In the song "So Called Friend", during the 2nd chorus (3:20 into the song) you play an amazing piece where you bounce around between your ride bell and chimes, at least that's what it sounds like... is this just straight 16th notes? or do you play a pattern

also, i recall seeing something about which snare wires you prefer (Puresounds, i know) , but could you specify which ones? I have my eye on the Custom 14" 16-strand set...

Thanks very much, and thank you for being such an amazing inspiration!

PS - your project with Carlo Fimiani sounds amazing!!! i love this kind of music, and i bet it was a blast for you to play!

[JeffIndyke]

Hi Gavin,

Thanks so much for the DVD. I received it today.

Looking forward to watching it, analyzing it and doing TV shows on it!!

I did 22 shows on Mike Clark alone!

[Gavin Harrison]

Hi xopethx


In the song "So Called Friend", during the 2nd chorus (3:20 into the song) you play an amazing piece where you bounce around between your ride bell and chimes, at least that's what it sounds like... is this just straight 16th notes? or do you play a pattern

also, i recall seeing something about which snare wires you prefer (Puresounds, i know) , but could you specify which ones?

PS - your project with Carlo Fimiani sounds amazing!!! i love this kind of music, and i bet it was a blast for you to play!

I think it's just combinations of singles and doubles. (The doubles always being in the right hand part on the ride bell). The left hand jumps from the bells to the snare drum.
The Puresound snares that I use are Custom P-1412 (and then I strip them down to 8 strands in the middle).

Yes I enjoyed making the session for Carlo - I think it came out pretty well.

Cheers
Gavin

[crookedrook]

Glad to hear that PT is coming to my home town Cincinnati, Ohio. Can't wait...our lead guitarist is the PT Team Leader for this area.

Thanks, Rob

[Gavin Harrison]

For those of you in America/Mexico/Canada who may be interested in seeing Porcupine Tree - here's our new tour list:

Wed 03 Oct - ORLANDO, FL, HOUSE OF BLUES
Sat 06 Oct - MEXICO CITY, METROPOLITAN THEATER
Tue 09 Oct - ASHEVILLE, ORANGE PEEL
Thu 11 Oct - RALEIGH, NC, LINCOLN THEATER
Fri 12 Oct - WASHINGTON, DC, STATE THEATER
Sat 13 Oct - NEW YORK, NY, BEACON THEATER
Mon 15 Oct - QUEBEC, SALLE ALBERT - ROUSSEAU
Tue 16 Oct - TORONTO, ON, PHOENIX
Thu 18 Oct - ALBANY, THE EGG
Fri 19 Oct - HARTFORD, CT, WEBSTER THEATER
Mon 22 Oct - CLEVELAND, OH, HOB
Tue 23 Oct - CINCINNATI, OH, BOGART'S
Wed 24 Oct - KANSAS CITY, MO, BEAMOUNT
Fri 26 Oct - NEW ORLEANS, LA, VOODOO FEST
Sat 27 Oct - HOUSTON, TX, MERIDIAN
Sun 28 Oct - DALLAS, TX, HOUSE OF BLUES
Mon 29 Oct - ATLANTA, GA, ROXY

cheers
Gavin

[gapwedge]

Hi Gavin

After seeing PT in Bristol earlier this year, my wife has bought me tickets for the show at Kentish Town forum on 9th November.

On 8th November, I'll be seeing Chad Smith and Steve White do a clinic at The Point in Cardiff bay, so three diverse, but great drummers in two days.

Not that I mind travelling, but I wonder whether there could be any plans afoot that would give us Welsh PT fans a show that's a bit closer to home? Perhaps the Point in Cardiff, Newport Centre or something similar? Would love to see you and the guys on home ground.

Thanks for the inspiration.

All the best to you and the band.

[XboxIsAGodToMe]

I will definitely be at the NY show! I just saw you guys in May in Philly, and you were awesome! It would be awesome to meet you this time, but I know you guys are very busy! Can't wait, and reading this just made my day!!!!
-Josh

[Liquid_Drummer]

Gavin,

Tue 23 Oct - CINCINNATI, OH, BOGART'S

Cant wait to see you play live. Me and Steve Katsikas of Little Atlas will be in attendence..

If you dont know about Little Atlas perhaps you should take a listen. You might like it. Prog in the sence of early Genesis etc...


You can listen to their last release called wanderlust on www.10trecords.com.

[Liquid_Drummer]

Gavin,

I have been using S-hoops for a while now on my snare and love em to death. They are made and were 1st sold in my hometown at mom's music. Cool guy too.

[emmerson]

Dear Gavin,

I always had a question ive been wanting to ask a successful drummer like yourself in the music industry. What do you think were the main components that got you where you are today? and how did you break into it? I've got my heart set on being a studio musician and am doing everything in my power to make it there. I've been practicing 2 - 3 hours a day, playing all the gigs i can get and trying to gain as much knownledge of music whether its in drumming, recording, music theory etc. But is there a trick or luck invovled with your success? or was it just going out there and doing the best you could? or did a certain group you played with take you for the ride to playing as a session drummer? Any help would be much appericated.

Cheers, Ethan.

[Gavin Harrison]

Hi emmerson,

What do you think were the main components that got you where you are today? and how did you break into it?

Determination. In many ways I always felt like I was still waiting to 'break into' the music business - and in some ways I still do. I think the golden age of being a session musician has long gone. The days of musicians getting 5-6 sessions a week in big studios are really gone. More likely is that someone will ask you to play on one or two tracks on their 'self funded' CD recorded at a home studio...if you're lucky enough to get asked.
Being in the right place at the right time always helps - but meeting and playing with a lot of different musicians will broaden your chances. You really need to know the producers and artists who might give you a break.

Good luck.

Cheers
Gavin

[tomtom]

Hello Gavin,

out of curiosity; why do you prefer your snare with rounded bearing edges, added warmth?

[Dom Chandler]

Hi Gavin, big fan, i've taken a big interest in your work with p.t and have studied your available dvd's, books, etc. My question has already probably been answered somewhere
but i can't track it down... What double kick exercises did/do you practice to obtain the speed and dexterity you show in tunes like Futile, Anesthetize and Mother and son divided (live version more so)? I have limited practice time at present (1st floor flat!!) so any concise methods are most welcome.
Thanx for the inspiration.
Dom Chandler

p.s did i read you are thinking about putting 'the drum song' on the next p.t dvd??
what might that be pray tell??

[Gavin Harrison]

Hi tomtom,

why do you prefer your snare with rounded bearing edges, added warmth?

I don't really like a ringy snare drum - so the lack of it due to the round bearing edges is a positive for me. There's more skin in contact with the shell - and I get more of the wood sound of the drum. Companies like Gretsch have been doing this for ages.

Hi Dom Chandler

What double kick exercises did/do you practice to obtain the speed and dexterity you show in tunes like Futile, Anesthetize and Mother and son divided (live version more so)? I have limited practice time at present (1st floor flat!!) so any concise methods are most welcome.

As I've mentioned before in this thread - I really don't think of myself as a double pedal player. If you want good advice about that - I'd ask Derek Roddy. My method is based on short bursts of 2,3,4 and sometimes 5 notes in a row. Always starting with the right foot and always using single strokes. I just figured out little patterns that I could play short bursts in between what my hands were doing. It's very handy to use the 'bursts' inside fills.

did i read you are thinking about putting 'the drum song' on the next p.t dvd??
what might that be pray tell??

Do you have my DVD Rhythmic Horizons? The "Drum Song" is on there along with the "Cymbal Song". I'll probably make a 5.1 surround mix of it too.

cheers
Gavin

[Drumkill]

For those of you in America/Mexico/Canada who may be interested in seeing Porcupine Tree - here's our new tour list:


Tue 16 Oct - TORONTO, ON, PHOENIX

cheers
Gavin


Gavin:

Thank you for posting a new schedule for the PT tour schedule. I discovered that on your website that I had missed your concert in May 2007 in Toronto by one week :-(

I will absolutely be going to the October concert!. I am very appreciative of your playing skill and your interpretive view of the songs that you play. You have inspired me to approach my instrument differently and consider its infinite possiblities. I really like your custom splash cymbal rack and would love to know the type of cymbals that you use on it (and if I am duplicative on this thread please ignore the request) as I like the textures they add.

One question, can you give me a few more examples of your odd meter playing? I have listened to the majority of the PT catalog but I am always open to more! What would you consider as some of your best recorded playing?

I have been playing for 20+ years and I am very grateful for your inspiration! (No a suckup lol, just a statement of fact!)

Cheers,

Tim

[Drumkill]

For those of you in America/Mexico/Canada who may be interested in seeing Porcupine Tree - here's our new tour list:


Tue 16 Oct - TORONTO, ON, PHOENIX

cheers
Gavin


Gavin:

Thank you for posting a new schedule for the PT tour schedule. I discovered on your website that I had missed your concert in May 2007 in Toronto by one week :-(

I will absolutely be going to the October concert!. I am very appreciative of your playing skill and your interpretive view of the songs that you play. You have inspired me to approach my instrument differently and consider its infinite possiblities. I really like your custom splash cymbal rack and would love to know the type of cymbals that you use on it (and if I am duplicative on this thread please ignore the request) as I like the textures they add.

One question, can you give me a few more examples of your odd meter playing? I have listened to the majority of the PT catalog but I am always open to more! What would you consider as some of your best recorded playing?

I have been playing for 20+ years and I am very grateful for your inspiration! (No a suckup lol, just a statement of fact!)

Cheers,

Tim

[Gavin Harrison]

Hi Drumkill,

I really like your custom splash cymbal rack and would love to know the type of cymbals that you use on it (and if I am duplicative on this thread please ignore the request) as I like the textures they add.

Have a look at post number 507 (around page 15 on this thread).


One question, can you give me a few more examples of your odd meter playing? I have listened to the majority of the PT catalog but I am always open to more! What would you consider as some of your best recorded playing?

I'm usually happiest with the latest thing that I've done. There's heaps of odd meter stuff on the (coming out very soon) GH 05Ric record. A lot of strange rhythmic ideas on there.

Cheers
Gavin

[tomtom]

Hi tomtom,

why do you prefer your snare with rounded bearing edges, added warmth?

I don't really like a ringy snare drum - so the lack of it due to the round bearing edges is a positive for me. There's more skin in contact with the shell - and I get more of the wood sound of the drum. Companies like Gretsch have been doing this for ages.


Thanx for your reply. I just want to add that I find it amazing that you take your time to answer the countless questions and comments from us drum nerds. I guess you must be single! ;=)

[Midnite Mike]

Hey Gavin,
Glad to hear your getting some rest from the latest tour, hope everything went well. Also glad to hear your coming back to the states this fall. looking forward to the Albany show. You'll like the EGG, its a nice space, very intimate. Anyways, just curious if there was any follies or technical difficulties you encountered on the last tour that caught your attention or that you learned from. Take care and God bless.

MM

[Acronomic]

Hi Gavin,

it's great to see you on the boards! You're a huge inspiration to many, myself included. I've watched your two DVDs and learned a lot from them - especially the excersize in keeping time where you used different spacings on your hi-hat... can't remember the terms at the moment, but I had great use of it. It really does wonders paired with the metronome of course.

On a side note, I saw PT in Oslo the 11th. Brilliant show, best live performance I've witnessed so far, power failure or not.

[crookedrook]

Gavin,

I noticed on Sonor's website they have 3-different types of shell thickness: Vintage, Medium and Heavy. Which thickness gives the the most warmth that a maple can give? which do you have?

Thanks,
Rob

[Gavin Harrison]

Hi Midnite Mike,

Anyways, just curious if there was any follies or technical difficulties you encountered on the last tour that caught your attention or that you learned from

I think the only real problem we had was in Oslo as Acronomic pointed out. The power for the PA went off several times. We didn't realise it because we all have in ear monitoring and it's really hard to tell sometimes if the PA is on or not. My roadie kept waving at me to tell me to stop the show. We came off stage for a few minutes a couple of times and wondered what are you meant to do if the PA never gets back on? We felt bad because it was a great audience and a great venue - plus our first time playing in Oslo.

Hi crookedrook,

I noticed on Sonor's website they have 3-different types of shell thickness: Vintage, Medium and Heavy. Which thickness gives the the most warmth that a maple can give? which do you have?

Actually there's 4 types. Vintage (which is the thinest and has support rings inside) then Thin (straight 6 ply no rings) then Medium (7 ply?) and Heavy (which I think is 9 ply).

Regarding warmth - I would say the Vintage shell. I have a combination of shell thickness.
My rack toms are "Thin" floor toms are "Medium" and bass drum is "Heavy".

cheers
Gavin

[loser_user]

Hi Gavin,

although I've been listening to Prog Rock Bands since the early '70s, I enjoyed Sam Brown's "Stop" in the '80s and Iggy Pop since the '80s up to now, used to be a drummer in the '80s and '90s, I have randomly heard from you and PT just a few weeks ago. I am so impressed of your music that I bought a lot of CDs and the DVD right from Amazon and, lucky me, you were on tour in Germany and played in Offenbach, near my hometown, the 30th of June. This was a sign! I bought one of the tickets for unbelivable 28 Euros (The Stones cost 150 Euros, I guess) and saw the best live performance (art, sound, atmosphere) since The Pretenders (special guest: The Waterboys) in the '80s. Porcupine Tree's music is the one I was searching for more than 30 years. And the only music I listen to for weeks now, in my car, at home, at the PC, at this moment. Go ahead with your fantastic work, you are the perfect drummer of a perfect band. I can't wait for your next releases or tour!

Edited: Can you tell us something about PT's new fanclub site http://residentsofablankplanet.com? What that's all about? What can members expect for their $35/year (+ $20 for shipping a PT-Shirt and a small lithography to Europe)? Why is it located in the US?

[Gibbersticks]

Hey Gavin

It's good to see you guys are playing more and more shows in North America but what about western Canada??? There is Vancouver, Calgary, Edmonton, Regina, Winnipeg......Toronto and Montreal just doesn't make for a Canadian tour (although unless you live in Toronto and therefore live in the center of the universe).

By the way I just fulfilled a dream and went to see RUSH here in Calgary. What a great show!!! During the intermission (they played for 3.5 hrs!) they were playing FOABP over the PA.

[davling]

Hi Gavin. Thanks for this, man, it really keeps one going when someone of ones heroes speaks to the fans like this. Really appreciate it!

Now to MY question ;)

Playing to click, I've been doing this on my latest two recordings. Thing is, our music - much like that of opeth - change from 4/4 to 3/4 and 6/8 alot in the same song.

So how do I play accurately to these parts? I want to know if you encounter this and what you do about it (I play one song in one take).

Thanks in advance,
David Lingdell.

[mind_drummer]

Hi Gavin

I want to congrats you for being now in Neil Peart favorite drummer list along with Buddy Rich, Dave Weckl, Steve Smith and (RIP) Ian Wallace. In fact it's written by Neil himself in the Modern Drummer august edition (Neil Snakes & Arrows article).

I know you're a very humble person but I'm sure you must be proud of your accomplishment.

Take care
A+

[Gavin Harrison]

Hi Gibbersticks,

It's good to see you guys are playing more and more shows in North America but what about western Canada??? There is Vancouver, Calgary, Edmonton, Regina, Winnipeg.

We'd love to come and play those places but the economics of it just never seems to pan out for us. It's a double edge sword of being popular enough to get a decent fee to make it viable to come - but how do you get popular if you don't go and play those places? There's lots of cities around the world that people ask us to play - and we'd love to - but it always comes down to the same crunch point unfortunately.

Hi davling,


Playing to click, I've been doing this on my latest two recordings. Thing is, our music - much like that of opeth - change from 4/4 to 3/4 and 6/8 alot in the same song.
So how do I play accurately to these parts? I want to know if you encounter this and what you do about it (I play one song in one take).

Sometimes I program the click to change feel from 4/4 to 6/8 or whatever is required. I could just play everything to a 4/4 click - but why make life difficult for yourself? The listeners never hear the click so who cares what you program it to do? I always choose whatever will make me perform and feel the best. I usually program clicks that follow the time signature.

If you're interested - I wrote an article about writing click tracks..

http://www.soundonsound.com/sos/aug03/articles/clicktracks.htm

Hi mind_drummer,
yes I saw that article. I'm honoured and flattered that Neil thinks of me in that way!!

Cheers
Gavin

[davling]

Thanks alot Gav, helps me very much :)



Regards,
David Lingdell.

I could just play everything to a 4/4 click - but why make life difficult for yourself?

BTW, this is actually how I have done it so far :P So I really hope this article helps, gonna read it now!

Also, what program do you use when programming click?

Thanks again!

[angelo]

Hi Gavin.Have you tried to use a 10"or other china or crash with jingles?. What do you think about?
This is another experiment i like the sound with double bass and 10" china with jingles.
I like a china sound and i have: 10", 12",14" and 20" china.
Have you a 8 "hi hat? You describe to me as you have obtained it

thanks for your time you are a magnificent and best person
Angelo

[Gibbersticks]

We'd love to come and play those places but the economics of it just never seems to pan out for us. It's a double edge sword of being popular enough to get a decent fee to make it viable to come - but how do you get popular if you don't go and play those places? There's lots of cities around the world that people ask us to play - and we'd love to - but it always comes down to the same crunch point unfortunately.

I guess the only way would be to get an opening slot on a major tour. Every major tour comes through this way and a lot of them do multiple dates. There are tons of shows in the smaller venues. I'm guessing your show is too big a production to do the whole 5 guys in a van thing. Oh well. It will happen someday I'm sure.

Cheers
Daniel

[lorneyc]

Gday Gavin, since I discovered Porcupine Tree through my ex girlfriend about a year ago, your playing has been a huge influence on me. Absolutely inspiring stuff!

Just a couple of quick questions: I'm wondering about that crazy fill in Anethsetize at about 6:13. I suspect it's something fairly simple, but it sounds amazing, what is it? Also the heavy double kicks part at 11:04, what's the pattern there? It doesn't sound like constant 16ths or 32nds