Gavin Harrison here!

[Moonloop]

I just can’t believe that Mr. Gavin Harrison is here and how humble you are sir to be answering all the questions…you are by far my favorite drummer! Actually am a guitarist and for the first time am in interested in drums more than guitar! by the way I have a band and we are covering some of Porcupine Tree’s songs…we are mixing psychedelic progressive music with some oriental touch we added Oud to have that touch…I wish someday I’ll be able to watch PT or any of your projects live…Am from Lebanon and you have a great fan base over here...Wish all the luck and best of wishes for more improvement!

 

[Russ Morse]

Gavin, How many sets of heads do you go through in a tour,are they all swapped out at the same time or single as needed? Rhythmic Designs is awesome!

 

[Paul Nasstrom]

Hi, Gavin! It's been long since I last posted something here! A lot has happened! I've developed quite a lot behind the drum set! Got my hands on some Gretsch Catalina Club Jazz drums and some really nice cymbals. Now after playing for almost three years (Started in Dec07/Jan08) I've worked and gained the right amount of money for a really good snare drum. I can afford something priced around 650£ (7000 swedish kronor). I've found a neat maple snare drum by Yamaha with quite a depth. 14x7. I think it's called maple custom. And also a smaller, 13x6,5 Steve Jordan Signature Maple. They are both available at my local drum shop. I want an all-around drum that has some bottom but still a nice cutting rim-shot. I play mostly rock but want to be able to play jazz as well. I know you've used a vintage yamaha snare drum on all Porcupine Tree recordings, that sound amazing. Do you have any advise when it comes to my search for the right snare drum?

I also want to thank you for your gig with PT at Arena in Stockholm, that took place the 19 October 2009! Fantastic. And for the great Anesthetize DVD.

Thanks in advance!

/Paul

 

[KevShephard]

This baffled both my friend and I, and we saw two different Porcupine Tree shows... I wanna know too, I thought I had figured out some sort of counting once but I think I was really reaching in subdivisions and changing time sigs lol

I have been curious about that too, seeing PT perform it twice, both times looking for some sign. I figured there must be some trigger in everyone's in-ears counting it down.

Kevin

 

[SantiBanks]

Hey Gavin, me again-
I meant to ask earlier - how on earth do you arrange Occam's Razor live? Do you play to a click, cause I've never been able to find the tempo (let alone time signature) that those hits are in. I always assumed you'd signal each other for the hits, but when I saw you guys, I didn't see any signals - just all of you hitting those notes without even looking at each other.
Thanks!

I guess they play live to a click. The piece sounds free but I personally think that it's 96 bpm. Count the main accents which are played by Gavin on crash, kick and hihat and continue to count in that tempo. Consider the accents as quarter notes and you get 96 bpm. I don't know what time signatures there are (and if its a compound timesig). But I think there is a tempo.

This is how I would transcribe the first "4" bars

 

[astrolopitekos]

Regarding Occam's Razor, right now I'm actually not sure if I saw this on some DVD, but I think it was on youtube, where Gavin explained that he has some Yamaha box thingie right besides him that lets him regulate what to hear (click, himself, colin, sw, etc...). Thing is, he said it lets him, for example, record other stuff to warn of passages between music parts and all those variations.

So... even if they don't have a click track, they are able to know when to play because they have probably just marked the entrance to that

 

[Fox622003]

Regarding Occam's Razor, right now I'm actually not sure if I saw this on some DVD, but I think it was on youtube, where Gavin explained that he has some Yamaha box thingie right besides him that lets him regulate what to hear (click, himself, colin, sw, etc...). Thing is, he said it lets him, for example, record other stuff to warn of passages between music parts and all those variations.

So... even if they don't have a click track, they are able to know when to play because they have probably just marked the entrance to that

Gavin programs his clicks, and ads vocal cues (himself speaking) to them to mark the changes and such.
The band has a click only when he isn't playing, the rest of the time, they follow Gavin, who is usually with a click.


Fox.

 

[astrolopitekos]

lol thanks Fox. Less words and better explained

 

[Austin DV]

I guess they play live to a click. The piece sounds free but I personally think that it's 96 bpm. Count the main accents which are played by Gavin on crash, kick and hihat and continue to count in that tempo. Consider the accents as quarter notes and you get 96 bpm. I don't know what time signatures there are (and if its a compound timesig). But I think there is a tempo.

This is how I would transcribe the first "4" bars

For all of you guys getting way too confused over Occam's Razor, it's just 4 measures of 4/4 at about 120 bpm (a little less I think) in the rhythm dotted quarter, dotted quarter, quarter, followed by three measures or rest or holding out the note.

l x - - x - - x - l - - - - - - - - l - - - - - - - - l - - - - - - - - l
(counted 1, and, 4)

Try counting with the recording, it's not nearly as complicated as your guys are all making it.

 

[facu]

Hi Gavin! I've got a question:

Do you use always the same shoes for playing? I've watched some videos, and this is my result:

Cheers!

 

[Fox622003]

Hi Gavin! I've got a question:

Do you use always the same shoes for playing? I've watched some videos, and this is my result:

Cheers!

What's your thoughts in regards to footwear while drumming? Do you always use a specific kind of shoe? Are you comfortable playing barefoot?

Gavin: "I need a flat bottom shoe - I normally wear old style Puma trainers. I can't play barefoot - it really hurts."


Fox.

 

[mpdrums]

Hi Gavin,

My name is Dennis and I come from Germany!
I'm a very big fan of you and PORCUPINE TREE. You're a big influence for me especially as a Drummer because I played Drums myself too....

I was at the PORCUPINE TREE Gig in Cologne last year. It was one of the best Concerts I’ve ever seen. You’re really rocked the house.
This year I'll also be at the Bochum Gig in October.
Since this Gig and all the others in germany will be between the two special gigs in New York and London I thought this will be a good chance for you guys to warm up for these two gigs, especially since you've announced on the PT twitter page that on these two gigs you'll play songs from the 90's era or you haven't played for a while.
I'm a big fan of this era, especially from Stupid Dream and the Signify classics (Dark Matter, Sever etc.) Because of that I want to know if you'll play songs from the 90's era also on the germany gigs in october like you've done it for example in Lodz or San Francisco before you toured with Coheed and Cambria?
Or even more than on the Lodz and San Francisco Gigs in September?

Kind Regards
Dennis

 

[Fox622003]

On, and I just checked out your new website Gavin, it's very very cool. The change was worth it.


Fox.

 

[scottishhaggis]

Hi Gavin, I believe I'm going to be the first person writing from Lithuania.
I love what you're doing, your style and everything, I went to UK to see porcupine tree to see you drumming, that was a great experience, thank you

Anyway, my question is: can you explain your type of holding sticks, are you only holding them that way when you play live, or does it depend on the song, or on how hard is the song. You hold them at almost very end of them. I tried such grip today on my drums, it felt kind of interesting and comfortable. Thanks in advance. Peace

 

[scottishhaggis]

What I meant was that I've never seen you playing holding in that center of stick, where you get the most bounce of it. Thanks in advance. Keep on drumming

 

[SantiBanks]

For all of you guys getting way too confused over Occam's Razor, it's just 4 measures of 4/4 at about 120 bpm (a little less I think) in the rhythm dotted quarter, dotted quarter, quarter, followed by three measures or rest or holding out the note.

l x - - x - - x - l - - - - - - - - l - - - - - - - - l - - - - - - - - l
(counted 1, and, 4)

Try counting with the recording, it's not nearly as complicated as your guys are all making it.

I don't think that my perception of it is more complicated as opposed to yours. In fact I believe it's the same principle, just explained with different tempo's. It reminds me of a question I asked Gavin a couple of months back regarding Time Flies. Do you feel it like 6/8 or do you feel it like 4/4. Both have different tempo's but the end result would be the same. This is pretty much the same I think. I feel the tempo slower, you feel it faster. Both are "correct" I guess, though the feel is different.

 

[hauk]

I don't think that my perception of it is more complicated as opposed to yours. In fact I believe it's the same principle, just explained with different tempo's. It reminds me of a question I asked Gavin a couple of months back regarding Time Flies. Do you feel it like 6/8 or do you feel it like 4/4. Both have different tempo's but the end result would be the same. This is pretty much the same I think. I feel the tempo slower, you feel it faster. Both are "correct" I guess, though the feel is different.

Yes, but I think if you would have to write every note of a song in triplets, it's not the best time signature to use (eg trying to write Time Flies in 4/4). A classical composer would never do that - he would write in a compound meter instead. In addition, in this specific case it's pretty clear that The Blind House (obviously in a simple meter: 5/4) shares its tempo with Occam's Razor when interpreted in a simple meter (in this case 4/4). So in context, it makes little sense to count Occam's Razor in triplets.

That's not to say that both ways aren't mathematically correct, though. A song written entirely in triplets may be unwieldy to read, but sound exactly the same as if written in regular subdivisions in a compound meter at a corresponding tempo. In the same vein, you could technically write any song in, for example, 15/32. You just might have to perform some incredible acrobatics on the page, with beats and barlines seemingly placed randomly in regards to the phrasing. To the listener, it's all the same.

 

[SantiBanks]

A classical composer would never do that - he would write in a compound meter instead.

Which is why I'm more a jazz cat Nah just kidding. I understand your point.

So in context, it makes little sense to count Occam's Razor in triplets.

True, point taken But that's the difference in perception, Occam's Razor doesn't have the same feel (for me that is) as Blind House. BH feels like a steady and straight ahead rock groove for me. Because of the accents Gavin plays in OR, it feels more like something in a slower tempo. So with these observations in mind, my conclusion would be that the tempo of OR is slower then BH (though they are the same). Because of that, I transcribe it as slower.

Sometimes I prefer feel and ease over how pretty things are when written out. I personally think that some of the concepts Gavin talks about are a different way of looking at things like the case with Incognito's "Always There" which Gavin outlines on one of his DVD's. I would regard that chorus part as slower because it feels slower to me. Of course I understand the principle behind it but I just find it easier to think its slowed down in tempo and speeds back up to normal tempo.

The same with Centered. That section where the middle section (which is at 8 = 191 bpm) goes back into the solo/verse section (which is at 4 = 127 bpm), instead of understanding it as a sub division that changes every bar (4 bars total), I find it easier to think of the metronome speeding up over 4 bars. Just my own preference. I think that's the important thing in making music, what ever works/feels good for you as a player is correct

 

[hauk]

Which is why I'm more a jazz cat Nah just kidding. I understand your point.


True, point taken But that's the difference in perception, Occam's Razor doesn't have the same feel (for me that is) as Blind House. BH feels like a steady and straight ahead rock groove for me. Because of the accents Gavin plays in OR, it feels more like something in a slower tempo. So with these observations in mind, my conclusion would be that the tempo of OR is slower then BH (though they are the same). Because of that, I transcribe it as slower.

Sometimes I prefer feel and ease over how pretty things are when written out. I personally think that some of the concepts Gavin talks about are a different way of looking at things like the case with Incognito's "Always There" which Gavin outlines on one of his DVD's. I would regard that chorus part as slower because it feels slower to me. Of course I understand the principle behind it but I just find it easier to think its slowed down in tempo and speeds back up to normal tempo.

The same with Centered. That section where the middle section (which is at 8 = 191 bpm) goes back into the solo/verse section (which is at 4 = 127 bpm), instead of understanding it as a sub division that changes every bar (4 bars total), I find it easier to think of the metronome speeding up over 4 bars. Just my own preference. I think that's the important thing in making music, what ever works/feels good for you as a player is correct

Fair enough. Personally, I started my musical experiences with classical percussion, so I suppose it's not surprising that I default to that background when looking at popular music. But by all means we should each feel things however the hell we want in order to get things done how we like :] - I completely agree that what works and feels good is right. Good luck to you in the future.

Aaaand now we can get back on topic.

 

[Gavin Harrison]

Hi <3Josh<3

Quick question...do you happen to know if Puresound is still making the 12 strand wires?

I believe they've stopped making the custom 12 strands.

Hii mewvolk

I meant to ask earlier - how on earth do you arrange Occam's Razor live? Do you play to a click, cause I've never been able to find the tempo (let alone time signature) that those hits are in. I always assumed you'd signal each other for the hits, but when I saw you guys, I didn't see any signals - just all of you hitting those notes without even looking at each other.

It's just magic !!!!

Hi tah821

i watched a video the other day of a drumkit tour of yours, and noticed you were using a Tama Cobra Clutch with a Sonor hi-hat stand. Does it work ok? i have heard that Cobra Clutches only work with Tama stands.

It works fine. I know there's a Pearl hi hat stand that it doesn't work with - that particular stand has an off centre main rod.

Hi Schism21

I was wondering what you think is the best thing for a young progressive rock/metal drummer to study/practice. I want to master more progressive techniques without developing bad habits!

Control and timing are the best things to practise. Don't bother trying to play as fast as you can. After that you might want to think about odd time signatures. There's usually a good deal of that in Prog music.

Hi Russ Morse

How many sets of heads do you go through in a tour,are they all swapped out at the same time or single as needed?

Some heads wear out faster than others. Generally I change the top snare head (Remo C.S) every two shows - and that's pretty much the same for the 10" tom too. About every 3 shows I need to change the 8" and about every 4 shows I need to change the 12". Every 8 shows I change the 14". I hardly ever change the 16" - and the bass drum head lasts for years.

Hi Paul Nasstrom

Do you have any advise when it comes to my search for the right snare drum?

You just have to get lucky and find a drum that can produce a sound that you like and can work with. A lot of the attack comes from the way that you hit it - and how you are holding the sticks.

Hi facu

Do you use always the same shoes for playing?

Ha funny pictures. So yes I guess I do. Same old style Pumas.

Hi mpdrums

I want to know if you'll play songs from the 90's era also on the germany gigs in october like you've done it for example in Lodz or San Francisco before you toured with Coheed and Cambria? Or even more than on the Lodz and San Francisco Gigs in September?

I don't know exactly what we'll play yet - but I suspect we might play some of that old 90's stuff.

Hi scottishhaggis

Anyway, my question is: can you explain your type of holding sticks, are you only holding them that way when you play live, or does it depend on the song, or on how hard is the song. You hold them at almost very end of them. I tried such grip today on my drums, it felt kind of interesting and comfortable.

For some mystic reason that's common to most drummers - we practise a certain way at home and then we get with a band and play 3 times louder. So when I'm on stage with PT I grip the sticks like this. Left hand grip is mainly in the little finger wrapped around the very end of the stick - it works well for heavy rim shot back beats. The grip in the right hand is more with my middle and 3rd fingers - again right at the back of the sticks (with Vic Firth Rock sticks).
If I'm playing at home or on a quiet jazz gig I hold the sticks further up the shaft towards the 3/4 point (with Vic Firth 5a Extremes).

OK,OK "Occam's Razor" is to a click and Austin DV got it right.

cheers
Gavin