Fox622003
Gold Member
LOL. You're a funny guy, Gavin. I hope you're having a great birthday. And I understand what you mean, lyrics are a very difficult part of writing music, and having a band motif must help a lot, and keeps the band on the same vibe.
As for Futile, I wrote down some of the part you mentioned on that live performance (HERE's the link). I hope I got it right this time, as I'd really like to take it to the kit. Those at the beginning are groups of 5, right? And yeah, I see you playing tons of ghost notes in the middle, I don't know what all that is about.
Thanks for checking the forum even on your birthday!
Fox.
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euphoric_anomaly
Senior Member
This question is for anyone who has the answer.
At 5:15 in "WAY OUT OF HERE" Gavin is hammering on one of his china's. What I cannot tell, and this is quite possibly the lamest question posted this year so-far is this:
Sounds like he starts out with quarter notes on the china, and then moves onto 8th notes when the double bass starts kicking in.
Or is it 8th notes and then 16th notes?
See what I mean about lamest question of the year?
Thanks everyone
At 5:15 in "WAY OUT OF HERE" Gavin is hammering on one of his china's. What I cannot tell, and this is quite possibly the lamest question posted this year so-far is this:
Sounds like he starts out with quarter notes on the china, and then moves onto 8th notes when the double bass starts kicking in.
Or is it 8th notes and then 16th notes?
See what I mean about lamest question of the year?
Thanks everyone
hauk
Silver Member
He actually starts out playing quarter notes and then moves to dotted eighths (assuming you hear that part in 12/8 like I do). No matter what he is not halving the value.
ItalianRicky
Member
hi gavin!!!i'm just back from a 3 days vacation on the beach! ^_^
and i hope that is not too late to wish you a happy birthday Gavin!
really, i hope that this next year for you may be full of happiness!!
and i hope that all the love that you receive here from a lot of drummers\fan can make you happier too!I'm just waiting for my copy of your "rythmic designs", probably it will come next week,i bought it last wednesday!!!
if i can say my opinion, i think that a cymbal like your may be useful to create a splash bell, i'd recently used an 17" AAX stage crash for a splash bell, and the result is very good!
and i hope that is not too late to wish you a happy birthday Gavin!
really, i hope that this next year for you may be full of happiness!!
and i hope that all the love that you receive here from a lot of drummers\fan can make you happier too!I'm just waiting for my copy of your "rythmic designs", probably it will come next week,i bought it last wednesday!!!
if i can say my opinion, i think that a cymbal like your may be useful to create a splash bell, i'd recently used an 17" AAX stage crash for a splash bell, and the result is very good!
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ChrisGau
Junior Member
It was a pleasure meeting you in person. It was great to have the chance to ask you at least a few of the gazillions of questions I have when going through all the exercises in your books and listening to your music. There were a few things I will take away, especially your repeated advice to try to "hear" displaced or modulated grooves as a completely new groove before actually playing them. So far my approach probably still focusses too much on the original groove... will have to work on that.
Although a few other class mates I talked to afterwards recognized me as the "guy that asked so much", I can only say that I really wasn't aware of that. I was just trying to cover as much as possible within 90mins ;-).
And be sure, despite all the technical problems in the afternoon, it was amazing as always to watch you. With Porcupine Tree you are usually quite hidden behind your set but yesterday I could get some good views on at least a few things you were doing. By the way... I really missed "Bonnie The Cat".
I had a great time (Benny Greb was also absolutely fantastic) and I hope you did too. See you next time.
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Joethebeat
Junior Member
Hi Gavin, incredible drumming today! Your perfomance alone was reason enough to come to Bad Berleburg, although i only managed to see you on the main stage.
I didn't figure how to count bonnie the cat 4/4, but nevermind :-D
What went wrong when you did that classical finger sound of yours on the Tom? It looked like you were sliding too fast somehow and made no sound?^^ or was that on purpose, maybe it worked and I didn't get it?
Anyway, thank you so much for coming, maybe I'll get into masterclass next year!
Bye
I didn't figure how to count bonnie the cat 4/4, but nevermind :-D
What went wrong when you did that classical finger sound of yours on the Tom? It looked like you were sliding too fast somehow and made no sound?^^ or was that on purpose, maybe it worked and I didn't get it?
Anyway, thank you so much for coming, maybe I'll get into masterclass next year!
Bye
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CareyCopelandCameron
Member
Hi Gavin!
Thanks a thousand times for the great day at Sonor....and the time to sign my little snare!
The masterclass was great,it was just a relaxing scene where every question could be answered and everyone got out verrry happy.
I hope this wasnt the last time I could be part of it and I hope you enjoyed it as much as we did!
...and...the show on the mainstage was superb!
Get home safely,come back soon!
Thanks a thousand times for the great day at Sonor....and the time to sign my little snare!
The masterclass was great,it was just a relaxing scene where every question could be answered and everyone got out verrry happy.
I hope this wasnt the last time I could be part of it and I hope you enjoyed it as much as we did!
...and...the show on the mainstage was superb!
Get home safely,come back soon!
Chris Edwards
Junior Member
Who cut off Gav's arms ????
euphoric_anomaly
Senior Member
Gavin,
Just watched that video of you testing out the KORG WAVEDRUM on youtube. Looked like you were having fun seeing what it could do. Which begs me to ask, would you ever consider complimenting your acoustic set with any electronic pads (similar to Bill Bruford's 1980's setup)? Or do you prefer a strictly acoustic sound?
Speaking of electronics, during Bonnie the Cat there is a spot in the song where it sounds like everything goes into a MONO format audio... not sure if that's correct, but it is definitely lower in volume for a few bars, and the drums sound almost electronic.
Thanks for your time
Cheers
Eric
Just watched that video of you testing out the KORG WAVEDRUM on youtube. Looked like you were having fun seeing what it could do. Which begs me to ask, would you ever consider complimenting your acoustic set with any electronic pads (similar to Bill Bruford's 1980's setup)? Or do you prefer a strictly acoustic sound?
Speaking of electronics, during Bonnie the Cat there is a spot in the song where it sounds like everything goes into a MONO format audio... not sure if that's correct, but it is definitely lower in volume for a few bars, and the drums sound almost electronic.
Thanks for your time
Cheers
Eric
Gavin Harrison
DRUMMERWORLD PRO DRUMMER
Hi Thaard
When will the next album with 05ric be released?
I don't know but we are working on a new one at the moment.
Hi Swiss Matthias
I have a question concerning bass drum tuning: I find it quite hard sometimes, especially with bigger sizes - do you make sure each lug has the same tension, like you probably do with the toms? Do you tune the reso-head lower than the batter? I often struggle with the deep frequencies, it's hard to hear if the heads are evenly in tension.
I try to make each lug have the same tension. The front head is a little lower in pitch than the batter side.
Hi Fox622003
As for Futile, I wrote down some of the part you mentioned on that live performance (HERE's the link). I hope I got it right this time, as I'd really like to take it to the kit. Those at the beginning are groups of 5, right? And yeah, I see you playing tons of ghost notes in the middle, I don't know what all that is about.
what notation program do you use? It looks very confused. At the start of your third bar it should be a dotted eight followed by a 16th then a 16th rest and then a bass drum etc. It kind of looks wrong. I can't understand the second beat of bar two either.
Hi Joethebeat
I didn't figure how to count bonnie the cat 4/4, but nevermind :-D
I think there's a transcription of that rhythm somewhere on here on the forum.
What went wrong when you did that classical finger sound of yours on the Tom? It looked like you were sliding too fast somehow and made no sound?^^ or was that on purpose, maybe it worked and I didn't get it?
That trick only goes right about 70% of the time...guess I was unlucky.
Hi euphoric_anomaly
Just watched that video of you testing out the KORG WAVEDRUM on youtube. Looked like you were having fun seeing what it could do. Which begs me to ask, would you ever consider complimenting your acoustic set with any electronic pads (similar to Bill Bruford's 1980's setup)? Or do you prefer a strictly acoustic sound?
I really like the Wavedrum - and I still have the original one as well. I did use it a little bit on the most recent PT album. I might use it in my live setup one day - but I'm not interested in having pads all over the kit.
Speaking of electronics, during Bonnie the Cat there is a spot in the song where it sounds like everything goes into a MONO format audio... not sure if that's correct, but it is definitely lower in volume for a few bars, and the drums sound almost electronic.
They are my drums but put through a filter.
cheers
Gavin
When will the next album with 05ric be released?
I don't know but we are working on a new one at the moment.
Hi Swiss Matthias
I have a question concerning bass drum tuning: I find it quite hard sometimes, especially with bigger sizes - do you make sure each lug has the same tension, like you probably do with the toms? Do you tune the reso-head lower than the batter? I often struggle with the deep frequencies, it's hard to hear if the heads are evenly in tension.
I try to make each lug have the same tension. The front head is a little lower in pitch than the batter side.
Hi Fox622003
As for Futile, I wrote down some of the part you mentioned on that live performance (HERE's the link). I hope I got it right this time, as I'd really like to take it to the kit. Those at the beginning are groups of 5, right? And yeah, I see you playing tons of ghost notes in the middle, I don't know what all that is about.
what notation program do you use? It looks very confused. At the start of your third bar it should be a dotted eight followed by a 16th then a 16th rest and then a bass drum etc. It kind of looks wrong. I can't understand the second beat of bar two either.
Hi Joethebeat
I didn't figure how to count bonnie the cat 4/4, but nevermind :-D
I think there's a transcription of that rhythm somewhere on here on the forum.
What went wrong when you did that classical finger sound of yours on the Tom? It looked like you were sliding too fast somehow and made no sound?^^ or was that on purpose, maybe it worked and I didn't get it?
That trick only goes right about 70% of the time...guess I was unlucky.
Hi euphoric_anomaly
Just watched that video of you testing out the KORG WAVEDRUM on youtube. Looked like you were having fun seeing what it could do. Which begs me to ask, would you ever consider complimenting your acoustic set with any electronic pads (similar to Bill Bruford's 1980's setup)? Or do you prefer a strictly acoustic sound?
I really like the Wavedrum - and I still have the original one as well. I did use it a little bit on the most recent PT album. I might use it in my live setup one day - but I'm not interested in having pads all over the kit.
Speaking of electronics, during Bonnie the Cat there is a spot in the song where it sounds like everything goes into a MONO format audio... not sure if that's correct, but it is definitely lower in volume for a few bars, and the drums sound almost electronic.
They are my drums but put through a filter.
cheers
Gavin
euphoric_anomaly
Senior Member
Gavin,
Question about 'Sentimental', which I cannot stop listening to repeatedly
I try to count out the intro following the piano. To me I can count one bar of 5/4 and then possibly a bar of 6/4. Which would equal 11/4. However the chorus sounds like it's in 4/4.
The drums on that track are hard to follow, esp intro/verse... everyone wants to "hear" the snare on 2 and 4, but your mastery of displacement always seems to throw me off... good practice for me I guess.
So basically, my question is: what IS the timing for this beautifully composed song?
Question about 'Sentimental', which I cannot stop listening to repeatedly
I try to count out the intro following the piano. To me I can count one bar of 5/4 and then possibly a bar of 6/4. Which would equal 11/4. However the chorus sounds like it's in 4/4.
The drums on that track are hard to follow, esp intro/verse... everyone wants to "hear" the snare on 2 and 4, but your mastery of displacement always seems to throw me off... good practice for me I guess.
So basically, my question is: what IS the timing for this beautifully composed song?
Gavin Harrison
DRUMMERWORLD PRO DRUMMER
It's all in 4/4. The piano at the start is playing a dotted 8th note illusion.
cheers
Gavin
cheers
Gavin
Swiss Matthias
Platinum Member
Concerning this illusion, I always wonder whether it's on purpose that the piano doesn't keep up the illusion at the outro but instead plays a very similar figure that fits into the bar? To me it sounds a bit like the pianist forgot what exactly he played through the first part of the song
.
Fox622003
Gold Member
I use Guitar Pro 5, we use it to keep precise track of my band's songs, so I also write anything there, it's not perfect for notation, but has quite a bit of stuff. Anyway, Bar 3: It starts with a dotted eighth, and is followed by an eighth note, which is the same as a sixteenth + a sixteenth rest (two sixteenths). Same with the second beat of bar two, just an eighth replacing two sixteenths.
Here's the program's playback of what's written.
Also, the same transcription, but changed the eighths to a sixteenth + a sixteenth rest, in matters of time it's the same, and since there's nothing in between, and the cymbal keeps sounding, I thought it was more of a legato thing, so that's why I wrote an eighth in the first place, the sound doesn't really stop, as if there was a rest. But it's really the same.
Fox.
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Gavin Harrison
DRUMMERWORLD PRO DRUMMER
Hi Swiss Matthias
Concerning this illusion, I always wonder whether it's on purpose that the piano doesn't keep up the illusion at the outro but instead plays a very similar figure that fits into the bar? To me it sounds a bit like the pianist forgot what exactly he played through the first part of the song .
I feel illusion works at the beginning because there's been no other time reference. At the end it wouldn't be such an illusion because everyone has understood the tempo by that point.
Hi Gus
Have you ever tried to attach your snare stand at your rack?.
It´s really comfortable. We´ve been trying it on a DW rack, with two Gibraltar clamps and a tube, and this is the result...
Looks good - I've never tried it. Doesn't the snare wobble when you hit it really hard?
Hi Fox622003
I use Guitar Pro 5, we use it to keep precise track of my band's songs, so I also write anything there, it's not perfect for notation, but has quite a bit of stuff. Anyway, Bar 3: It starts with a dotted eighth, and is followed by an eighth note, which is the same as a sixteenth + a sixteenth rest (two sixteenths). Same with the second beat of bar two, just an eighth replacing two sixteenths.Also, the same transcription, but changed the eighths to a sixteenth + a sixteenth rest, in matters of time it's the same, and since there's nothing in between, and the cymbal keeps sounding, I thought it was more of a legato thing, so that's why I wrote an eighth in the first place, the sound doesn't really stop, as if there was a rest. But it's really the same.
I understand - but it's illegible by normal reading standards. You can't really place a dotted 8th followed by an 8th (unless it was just a bar of 5/16). Traditionally you would put a dotted 8th followed by a 16th tied to the next 16th of the next group. That's why I'm struggling with the notation as it is. A lot of notation programs wouldn't even allow you to do that. How you've written it isn't wrong mathematically - it's just outside the excepted standard of reading notation.
Cheers
Gavin
Concerning this illusion, I always wonder whether it's on purpose that the piano doesn't keep up the illusion at the outro but instead plays a very similar figure that fits into the bar? To me it sounds a bit like the pianist forgot what exactly he played through the first part of the song
. I feel illusion works at the beginning because there's been no other time reference. At the end it wouldn't be such an illusion because everyone has understood the tempo by that point.
Hi Gus
Have you ever tried to attach your snare stand at your rack?.
It´s really comfortable. We´ve been trying it on a DW rack, with two Gibraltar clamps and a tube, and this is the result...
Looks good - I've never tried it. Doesn't the snare wobble when you hit it really hard?
Hi Fox622003
I use Guitar Pro 5, we use it to keep precise track of my band's songs, so I also write anything there, it's not perfect for notation, but has quite a bit of stuff. Anyway, Bar 3: It starts with a dotted eighth, and is followed by an eighth note, which is the same as a sixteenth + a sixteenth rest (two sixteenths). Same with the second beat of bar two, just an eighth replacing two sixteenths.Also, the same transcription, but changed the eighths to a sixteenth + a sixteenth rest, in matters of time it's the same, and since there's nothing in between, and the cymbal keeps sounding, I thought it was more of a legato thing, so that's why I wrote an eighth in the first place, the sound doesn't really stop, as if there was a rest. But it's really the same.
I understand - but it's illegible by normal reading standards. You can't really place a dotted 8th followed by an 8th (unless it was just a bar of 5/16). Traditionally you would put a dotted 8th followed by a 16th tied to the next 16th of the next group. That's why I'm struggling with the notation as it is. A lot of notation programs wouldn't even allow you to do that. How you've written it isn't wrong mathematically - it's just outside the excepted standard of reading notation.
Cheers
Gavin
Fox622003
Gold Member
I guess it's more confusing to read, and if it is a legato thing like I mentioned, I'll tie it to the next sixteenth from now on, you must know what you are saying. Sorry for confusing you, I'm glad the part's finally down (?) at least
.All the best Gavin, thanks for taking the time.
Fox.
SantiBanks
Senior Member
Hi Gavin,
I have two questions about overriding. You use the dotted quaver override in 7/8 patterns like on What happens now? I think I can play the override good but I'm having troubles with the ghostnotes on the snare. Do you play 16ths, 8ths, triplets or something else as ghost notes on the snare? And do you just hit the bell of the ride or do you also play on the "edge" (more in a ghost note style?)
Also, for the song Last Call, when I first heard the track I thought you where playing an override as it sounded like that. On the dvd, you said that you played every second triplet (in the group of 3). Is it actually an override because that is how I perceive it?
Cheers!
Santi
I have two questions about overriding. You use the dotted quaver override in 7/8 patterns like on What happens now? I think I can play the override good but I'm having troubles with the ghostnotes on the snare. Do you play 16ths, 8ths, triplets or something else as ghost notes on the snare? And do you just hit the bell of the ride or do you also play on the "edge" (more in a ghost note style?)
Also, for the song Last Call, when I first heard the track I thought you where playing an override as it sounded like that. On the dvd, you said that you played every second triplet (in the group of 3). Is it actually an override because that is how I perceive it?
Cheers!
Santi