Gavin Harrison here!

Silmi

Junior Member
Hi Gavin!!

Its been a pleasure communicating with you..
I have been going through your book as well and moontheloon was right. By far the best.
Would be really nice meeting you someday.

Regards.
Silmi
 

Sjogras

Silver Member
3) When you joined Porcupine Tree the band went from (dare I say) decent to amazing!! – like over night!! How did you inspire all that??
Wow wow wow... Thats your opinion.. Chris Maitland is a really talented drummer, youre giving Gavin too much credit.
 

Moon4Sale

Member
Wow wow wow... Thats your opinion.. Chris Maitland is a really talented drummer, youre giving Gavin too much credit.
The word "Decent" is not referring to the ability of anyone to play their instrument. You said that not me. It is referring to the musicality, depth and dynamics of the band which I see has been fully realized by Gavin at the helm. Also, I removed the question on second thought as it makes for a potentially uncomfortable response on Gavin's part.
 
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Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi gabdrums

Now, I see that you switch to Tama Speed Cobras, before you did it, I'm sure as hell that you tried a lot of other pedals before you switched....so for you (and I know pedals, as you say it, are very personal things), what is the main difference in feel between the Cobras, Speed and Iron of course.


I haven't played Iron Cobras - but I watched Simon Phillips playing his and he was having no problems at all with them!!

Hi Headstone

I didn't have the luck to see your show at the Royal Albert Hall. I know it wasn't filmed, but I read somewhere (maybe on the PT twitter, not sure) that it was recorded and maybe, someday, it might be probably released .

Yes it was recorded but not filmed - so it is an option to mix and release that but we have no plans to at the moment.

Hi Tesseract

1) Do you play note for note live?

no - I try to improvise a bit from night to night.

2) How long did it take you to write Rhythmic Illusions, Rhythmic Perspectives etc.?

Rhythmic Illusions was written over seven years. Rhythmic Perspectives took about three years.

3) I see that you will be teaching @ Dave Weckl’s Drum Fantasy Camp in 2011. Will you also be doing a few clinics while in the States!!! Hint. Hint. Pray. Pray.


I'd love to - but I haven't been asked.

cheers
Gavin
 

Sjogras

Silver Member
The word "Decent" is not referring to the ability of anyone to play their instrument. You said that not me. It is referring to the musicality, depth and dynamics of the band which I see has been fully realized by Gavin at the helm. Also, I removed the question on second thought as it makes for a potentially uncomfortable response on Gavin's part.
The band has evolved of course, there was an obvious change of the bands nature when Gavin joined, but I don't think it's either worse or better, just different. Records like Moonloop and Metanoia are really an expression of musicality to me, and the drums are quite amazing on those records, and the other instruments as well.
 
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scarlit

Silver Member
Hi Gavin!

Care to share your Speed Cobra settings with us? (footboard height, beater distance, etc)

Regards,
Alex
 

gabdrums

Junior Member
Thanks for the response Gavin!, I'm surprised that you haven't try the Iron Cobras though :) I'll have to wait to try the Speed Cobras to feel the differences, I'm in no hurry though since my Iron Cobra single pedal is just heaven, was just curious....

Now, another question :)

I remember an interview where you said that it was extremely difficult and you where specially nervous when you played the first time in the Modern Drummer Festival. How does it feel now with more "drummers events" behind? specially when there are a lot of people that only know you from your work with PT and in the events you do amazing non PT stuff.

Cheers!!!

Gabriel
 

Lex

Senior Member
Hi Gavin!

You're obviously a tremendous drummer, but I don't think you need anymore ego boosting, right? ;)

Anyway, can you please tell me something about you hi-hat gear. I thought I read there was something special about it.. It's a Sonor stand, right?

Thank you in advance.

- Lex
 

guloniko

Junior Member
hi Gavin,

big fan from the Philippines. what are nice songs that are in 7? you can give me your top 5 :) we would love to have you do a clinic here in the Philippines. dont forget me if you will!

niko
 

Basil

Junior Member
Good morning!
I just wanted to bring up some issues about In-Ear monitoring and clicks vs live music. Both you guys and a lot of other bands as well use In-Ear monitors these days. I have tried it myself and although I can see (or hear actually) the advantages (better mix, less bleed into the mikes, ear protection and so on) I felt it affected the way I played both in the groove, tempo, looseness and in the way i hit the drums and cymbals. The lack of presence from the room/stage and certain frequencies (even though I mixed in room mics) was too obvious. You could say that the sound in a way was "compressed" into my in ears and I missed the sound of the other instruments including my own, or the natural acoustics/sound of the music. It might have sounded technically perfect though.

Now my theory is that bands that use In-ear with click-tracks, have to sacrifice some of the natural interplay at that particular gig, we all respond to each other from the sound (or lack of sound) we hear around us, even small nuances. And watching bands today, especially bands that have been around for a while like you guys in Porcupine Tree, it feels that they become so "obsessed" with controll over stage sound and tempo that the concert lacks a certain x-factor, it doesn't have that spark or the variation and becomes a sterile and tecnically perfect reproduction (which I suspect some live acts and sound crews these days strive for).

Do you sometimes wish you could play more in the moment without being in sync with any videos, without click-tracks and let the stagesound and the general emotion of that night dictates the tempo, the dynamics, the way you play and how you guys respond to each other at that particular gig (like a more jazz-oriented approach perhaps)?
Or do you think the Porcupine Tree music is so challenging and hard to reproduce right that a different approach would not serve the performance and that exact tempos, video sync, intrumental and sequenced passages, balance, dynamics....are key elements at every PT show?
As a long-time admirer and frequent concert attendee, I'm not even sure (or would that be shure, ha-ha) myself.

Kind regards
KB
 

Headstone

Junior Member
Hi Headstone

I didn't have the luck to see your show at the Royal Albert Hall. I know it wasn't filmed, but I read somewhere (maybe on the PT twitter, not sure) that it was recorded and maybe, someday, it might be probably released .

Yes it was recorded but not filmed - so it is an option to mix and release that but we have no plans to at the moment.

cheers
Gavin
Would be really awesome !

Thanks for your answer !
 

uniin

Gold Member
Hi Gavin!

You're obviously a tremendous drummer, but I don't think you need anymore ego boosting, right? ;)

Anyway, can you please tell me something about you hi-hat gear. I thought I read there was something special about it.. It's a Sonor stand, right?

Thank you in advance.

- Lex
he uses a normal sonor hi hat, with a tama cobra clutch and a dw sm505

which can all be viewed at this picture :
http://img.photobucket.com/albums/v324/datommaster/GavIMG_7314.jpg?t=1302705794

or at least last time i checked he was ;)
 

renardvert

Silver Member
Hi Gavin,

I'm a big fan of your playing. You're very inspiring to me. Thanks for taking the time to answer all those questions in this forum.

I read in Drum magazine, where you were giving tips on having a career in music, that you had gone through a time where you had not much work, in the early nineties I think and that you had spent a lot of time practicing back then. Could you tell what you used to work on or what would your practice routine would consist of. I think you went on to play with an italian singer after that.

By the way, I really liked that article, and the quote from Tony Levin saying: It's all down to luck but the more I practice, the luckier I get.

Thanks!

D.
 

crystalfunky

Junior Member
Hi Gavin,

some more questions from me:

1.
I just read somewhere that bands and/or producers mix their cd's in a "bad" way on purpose
so that they are playable on kitchenradios and small hifi systems,
because people with good equipment are rare.

What can you say to that?


2.
If you don't wanna answer this, then I understand.
How do you develop your odd meter grooves? Maybe you can give me some ideas to start because I often don't have a clue where to start = where to put the bassdrum, snare,
so that the groove don't sound as an odd meter groove.
 
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richkenyon

Silver Member
Hey Gavin.... loving your work. When I've seen you with PT live I was very taken by the way you used your crashes - not always with the BD & some nice creative textures. Is that something you have focused on or did it just evolve?

Just seen you are doing Drum Camp - can you comment on what you may focus on? I am thinking of coming, but still wonder what a pro-player (albeit not a well-known one!) would get out of it other than just having fun with other drummers.

Cheers & thanks!
 

Fox622003

Gold Member
Just seen you are doing Drum Camp - can you comment on what you may focus on? I am thinking of coming, but still wonder what a pro-player (albeit not a well-known one!) would get out of it other than just having fun with other drummers.
So let me see if I get this right...you're saying you've got nothing to "get out of" Steve Smith, Peter Erskine, Thomas Lang, Dave Weckl, Gavin, and not sure who else is going to be there, just because you "are a pro"?


Fox.
 

Chaos_Inferno

Silver Member
So let me see if I get this right...you're saying you've got nothing to "get out of" Steve Smith, Peter Erskine, Thomas Lang, Dave Weckl, Gavin, and not sure who else is going to be there, just because you "are a pro"?


Fox.
I see what you're saying but it's still a legitimate question. If the camp was aimed towards helping beginners get a good start on drumming rather than something more similar to a big clinic for musicians to learn from, then it might not be AS worth it...

Personally I'd still go either way just because of all the people involved, but that still is up to personal preference.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi scarlit

Care to share your Speed Cobra settings with us? (footboard height, beater distance, etc)

there's a little more to it than that - but I can tell you that the boards are 18.3 degrees and the measurement to the centre of the face of the beater is 17cms.

Hi gabdrums

I remember an interview where you said that it was extremely difficult and you where specially nervous when you played the first time in the Modern Drummer Festival. How does it feel now with more "drummers events" behind? specially when there are a lot of people that only know you from your work with PT and in the events you do amazing non PT stuff.


I know how to focus and relax before a show. It's all mind of matter. I'm sure everyone deals with it differently and do different things pre show. It hasn't really changed over time.

Hi Lex

Anyway, can you please tell me something about you hi-hat gear. I thought I read there was something special about it.. It's a Sonor stand, right?


yes uniin's answer is correct.

Hi guloniko

big fan from the Philippines. what are nice songs that are in 7? you can give me your top 5 :) we would love to have you do a clinic here in the Philippines. dont forget me if you will!

hmm..that's a hard one. I don't I really have "favourites in 7".
Space Boogie by Jeff Beck is a nice one as is "Money" by Pink Floyd.

Hi Basil

Now my theory is that bands that use In-ear with click-tracks, have to sacrifice some of the natural interplay at that particular gig, we all respond to each other from the sound (or lack of sound) we hear around us, even small nuances. And watching bands today, especially bands that have been around for a while like you guys in Porcupine Tree, it feels that they become so "obsessed" with controll over stage sound and tempo that the concert lacks a certain x-factor, it doesn't have that spark or the variation and becomes a sterile and tecnically perfect reproduction (which I suspect some live acts and sound crews these days strive for).

Sorry to hear you're not enjoying PT shows.
Regarding the clarity of sound - it's much better these days with in ear monitoring - considering some of the venues we play in. If we were playing in small 'jazz clubs' I would agree with you about hearing things naturally - but we don't - and the on stage volume is very loud and very reverberant. I don't think you would believe how it sounds up there some days. I would say almost unplayable - without in ears. How did I do it before in ears? Well it was nasty - and I'm now suffering the consequences of tinnitus (and for the rest of my life).

Do you sometimes wish you could play more in the moment without being in sync with any videos, without click-tracks and let the stagesound and the general emotion of that night dictates the tempo, the dynamics, the way you play and how you guys respond to each other at that particular gig (like a more jazz-oriented approach perhaps)?


I fell that I am always playing 'in the moment' and do respond to the other guys - being in sync with the videos doesn't feel like a problem to me - but we are putting on a show that we feel people are expecting to see and hear certain things. We're not an experimental jazz group and nor are we really playing that kind of improvised music.

Hi renardvert

I read in Drum magazine, where you were giving tips on having a career in music, that you had gone through a time where you had not much work, in the early nineties I think and that you had spent a lot of time practicing back then. Could you tell what you used to work on or what would your practice routine would consist of.

I worked on so many ideas around that period I couldn't really specifically describe them. I recorded everything and analyzed it carefully. I was working through some of the concepts that you can apply to Ted Reed's Syncopation book.

Hi crystalfunky

I just read somewhere that bands and/or producers mix their cd's in a "bad" way on purpose so that they are playable on kitchenradios and small hifi systems,
because people with good equipment are rare. What can you say to that?


I don't think people deliberately mix their albums in a bad way - but you need to check what it sounds like on different speakers. Not everyone has expensive studio monitors set up.

How do you develop your odd meter grooves? Maybe you can give me some ideas to start because I often don't have a clue where to start = where to put the bassdrum, snare, so that the groove don't sound as an odd meter groove.


all odd meter grooves can be broken down into groups of two and three. I start with it that simple and build upon it. I guess you just need to analyze some of the odd grooves that you like and work out where the bass drum and snare notes are sitting.

Hi richkenyon

When I've seen you with PT live I was very taken by the way you used your crashes - not always with the BD & some nice creative textures. Is that something you have focused on or did it just evolve?

I guess it has just evolved over the many years that I've been doing it.

Just seen you are doing Drum Camp - can you comment on what you may focus on? I am thinking of coming, but still wonder what a pro-player (albeit not a well-known one!) would get out of it other than just having fun with other drummers.

If I had a chance to have a lesson with Dave Weckl, Steve Smith, Peter Erskine or Chris Coleman I would jump at in a second. I'm always open to the idea that I could learn something (and I'm hoping to at that drum camp). Every time I see someone play I learn something. I don't know what I'll be focusing on - it may depend on the students and the way they may want to steer it. I'm sure it will be a very enriching experience for all of us.
I think between the instructors there will be a vast variety of material at all kinds of levels - the only problem will be digesting it.

cheers
Gavin
 

Swiss Matthias

Platinum Member
Just seen you are doing Drum Camp - can you comment on what you may focus on? I am thinking of coming, but still wonder what a pro-player (albeit not a well-known one!) would get out of it other than just having fun with other drummers.

Cheers & thanks!
If you're living near and are able to attend drum camp - do it!!! I'd love to but I'm living too
far away and it's too expensive... Do it for me! :)
 

Basil

Junior Member
Thanks a lot for sharing your opinion.
Well I do really appreciate PT shows, belive it or not, but as I mentioned I'm a little biased on this issue in general as a listener. Both records and a lot of live show these days are so controlled both in tempo and in sound. Especially if you attend several concerts on the same tour, you guys are so good and reliable these days that we don't or hardly notice any differences between shows. It's not that I don't enjoy them, but having attended concerts and listening to live records/DVDs from all kinds of different bands (Genesis, Toto, Rush, Kiss, Journey, U2, Deep Purple, Police.....etc) the last decade and then comparing them to older live-records/shows/DVDs, it doesn't seem to have that spark, that nerve and in some way a certain instability (for lack of a better word) which can make it more interesting and special, even magical. It felt that some of those bands played on the edge in their prime, whereas now they just reproduce, but maybe it's just my feeling. When refering to guys that's been around for a while like PT (and the artists I just mentioned), it's just a way of putting PT up there with them.
These are are some of my perspectives as a listener. And I thought it would be interesting to also have some reflections from "the drivers seat" so to speak. I fully understand your points about controll over stage sound, different venues - different acoustics, stability at very performance, avoiding tinnitus etc, which from a players point of view sounds very reasonable. See you on the next PT show somewhere in the future

Thanks again for your answer. Happy Easter!
KB
 
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