Gavin Harrison here!

slo77y

Junior Member
Gavin, thank you so much for your detailed answer! I'm really appreciating that you are so kind to answer all these questions, although im pretty sure you have heard some of them a thousend times :D


Yes the snare mics and overheads are off the rack because of vibration problems on the rack.

I suppose thats because your snare isn't gated opposed to the toms, which means when you're playin a fill on the toms, the vibration in the open snare mic cause problems? That would mean when i dont want to use gates at all (which holds true for some sections of our songs), placing mics on the rack would not really pay off in the studio,... is that correct?


Also, my guitarist would like to know the time signature for "No Twilight In The Courts Of The Sun" (on Insurgentes by Steven Wilson). He already knows that the riff is 21/8 long, but he wants to know if there are any more subdivisions like 10/8 + 11/8 or something like that.
He even asked Tony Levin at a concert when Stick Men supported Porcupine Tree in Germany, but all he basically said was that he never counts and to ask you :).


Thanks a lot!
 

Slike...

Junior Member
Hi Gavin,

Here's my first question: Keith Jarret once said that you can find a world class jazz pianist, a world class classical pianist, but that it is extremely rare to find a pianist who is both at the same time. He sait it has to do with the way the brain is wired. (or maybe rewired, lol).
Do you think this applies to drummers too, whether in terms of styles or in the case of a very recognisable musical identity?
Now the groupie question: How many sets of gav bells do you have, and do you carry a second one with you on tour in case the one you use is broken?
Wishing you all the best for your clinic tour.

Cheers
 

Sjogras

Silver Member
Also, my guitarist would like to know the time signature for "No Twilight In The Courts Of The Sun" (on Insurgentes by Steven Wilson). He already knows that the riff is 21/8 long, but he wants to know if there are any more subdivisions like 10/8 + 11/8 or something like that.
He even asked Tony Levin at a concert when Stick Men supported Porcupine Tree in Germany, but all he basically said was that he never counts and to ask you :).
I asked this some time ago,

Hi Sjogras

I have a question regarding "No twilight within the courts of the sun". I counted it to 21/8, hope thats correct. During most of the song I find that following the bassline helps alot to keep time, but how do you keep time during the piano solo?

I counted like this: 2 bars of 4/4 + 1 quarter note and then 2 dotted 8th notes.
 

K_HiHats

Member
Hey Gavin! Just wanna say thanks for the previous response. I just feel like saying this: when I first tried to play 'Glass Arm Shattering,' I basically over-analyzed the whole concept of the "one chick before the snare hit" thinking it was something way different. To explain that mediocracy of mine, I basically had the idea that one was supposed to chick the hi hat every time one played a ride pattern. Thanks to videos of you playing, my techniques for playing slow patterns like 'Glass Arm Shattering' was saved. Let me just ask, do you think you ever over-analyze stuff at times when you don't need to, Because I seem to do that quite a lot unfortunately. Or is that a good thing?

The other questions I wanted to ask were: when did you get interested in double bass type stuff? And when did you start using the cobra clutch in your drumming? It really seems pretty important to you like for songs such as 'Open Car' during the double bass section (my favorite part!), and 'Fear of a Blank Planet' is a song that you definitely use it on, I'm sure. And finally, would you say that you use your cobra clutch or your drop clutch more?

Thanks for the response ahead of time.

Cheers --Peter
 

LinearDrummer

Silver Member
Hey Gavin
Are you doing Weckl's drum fantasy camp - I thought I read on another forum that you were asked but declined.

If so thats pretty sweet!
You, Weckl and Coleman is a crazy hot lineup....
 

Hurlza

Junior Member
Hi Gavin, Just a quick question. I was wondering, and i understand the logistical difficulty, if there is absolutely any possibility of a clinic tour in australia?
 

daredrummer

Gold Member
Hey Gavin, I have a question about your signature snare... It might have been asked before, and I apologize if it has.

Anyway, I really dig the snare sound in this video. I was wondering if this sound is a result of EQing and other computer programming, or if this is a common sound quality among 12x5 (and similar sized) drums.

Thanks!
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Tom Lawton101

On youtube there are various videos of you playing some very creative and interesting music such as "Slipping Away" and also the song you play at the end of your set on the 2008 Modern Drummer DVD. Both of these are amazing but I was wondering if they are apart of some sort of CD? Are they your own composition or are they covers? Are they available for purchase from anywhere?

I've never released these songs on CD. The tune from the MD Fest is called "Quite Firm" by Laurence Cottle and is on my DVD Rhythmic Visions. Slippin' Away is written by David Paich - and originally played by Jeff Porcaro. My version of it is on the DVD Rhythmic Horizons.

Hi Zegers

I was wondering if I can get my hands on a full tanscription of The Sound Of Muzak. I've been searching for a while and have had no luck.


I believe someone has transcribed this piece - but I'm not sure where it is.

Hi slo77y

I suppose thats because your snare isn't gated opposed to the toms, which means when you're playin a fill on the toms, the vibration in the open snare mic cause problems? That would mean when i dont want to use gates at all (which holds true for some sections of our songs), placing mics on the rack would not really pay off in the studio,... is that correct?

I don't use any gates on the toms when I'm recording them. Sometimes the compression on the snare mic tends to exaggerate the shock through the rack.

Hi Slike...

Here's my first question: Keith Jarret once said that you can find a world class jazz pianist, a world class classical pianist, but that it is extremely rare to find a pianist who is both at the same time. He sait it has to do with the way the brain is wired. (or maybe rewired, lol).
Do you think this applies to drummers too, whether in terms of styles or in the case of a very recognisable musical identity?


sorry I don't really understand this question.

Now the groupie question: How many sets of gav bells do you have, and do you carry a second one with you on tour in case the one you use is broken?


I have two sets. The ones that I made myself (that stay at home) and the ones that Zildjian made for me that I now take on tour.

Hi K_HiHats

Let me just ask, do you think you ever over-analyze stuff at times when you don't need to, Because I seem to do that quite a lot unfortunately. Or is that a good thing?

That's a hard question. I have of course analysed some things when I felt it necessary - I guess it depends if you think it's really necessary or not.

The other questions I wanted to ask were: when did you get interested in double bass type stuff? And when did you start using the cobra clutch in your drumming? It really seems pretty important to you like for songs such as 'Open Car' during the double bass section (my favorite part!), and 'Fear of a Blank Planet' is a song that you definitely use it on, I'm sure. And finally, would you say that you use your cobra clutch or your drop clutch more?

I was interested in double bass drumming from when I was about 17/18 years old. The Cobra Clutch didn't come along until about five years ago. With the songs Open Car and FOABP - I just use the drop clutch. I tend to reserve the Cobra Clutch for the tightly closed hi hat position. Songs like "Mother & Child Divided" or some of the fills in "Anesthetize" and "Bonnie The Cat".

Hi LinearDrummer

Are you doing Weckl's drum fantasy camp - I thought I read on another forum that you were asked but declined.

Yes I will be there!!

Hi Hurlza

Just a quick question. I was wondering, and i understand the logistical difficulty, if there is absolutely any possibility of a clinic tour in australia?

very little chance at the moment.

Hi daredrummer

Anyway, I really dig the snare sound in this video. I was wondering if this sound is a result of EQing and other computer programming, or if this is a common sound quality among 12x5 (and similar sized) drums.

there is some light audio processing on that snare drum. I do like the Sonor 12 x 5 snares - but I do use a lot of other different snares too.

cheers
Gavin
 

K_HiHats

Member
Hey Gavin! I actually thought it was the other way around with your cobra clutch and drop clutch. Well, another mystery solved! Thanks for the response.

So now a question about that: basically, for songs like 'Open Car' and FOABP, you're just bashing the daylight out of the hi hats to get the same slosh effect as when you have your foot on the pedal and lighten up a bit on your foot's grip to get the slosh, right? It's hard to tell from any video because you normally seem to hit pretty hard already for those types of patterns normally.

Now another quick one: what is it that you are doing in the last section of 'Cheating the Polygraph' ? (It's my current favorite song to play) It's around 6:50 in or so, that little last part. It's just something that bugs me every time I play it, and from the DVD standpoint, I sort of have an idea (it has something to do with your side snare, I think) but I think it would be better if you explain it.

Thanks for all the help since I've joined! (and that time was last month so...) This has been great so far! Just felt like saying that.

Cheers --Peter
 
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Heck99

Member
Hi-

Have you had any experience with the ZIldjian K Custom Hybrid line of cymbals? I thought I had seen a Hybrid crash of some sort on a recent picture of your kit. What did you think of them?

Regards,

John Heckathorn
 
Hey Gavin,


Lots of helpful information in here, thanks for talking to us!


I recently found out Remo came out with a new bass drum head, the Powerstroke Pro I believe it is. I was just wondering if you'd tried it yet or were planning to, and if you have what your opinion was on it. I'm contemplating switching to it from my Powerstroke 3.

Thanks a lot, wish I could catch a clinic of yours!
 

Nils

Junior Member
Hey Gavin,

I visited your last PT concert in Berlin at the Admiralspalast (nice gig by the way) and I couldn't resist to buy your selfmade chime which is broken unfortunately. But I'd like to know if your really played it and from what kind of cymbal it was made. Inside the bell 20" is written so I think it was a Ride once.

My second question is if there is any possibility to get some PT Playalongs.


Greetings from Berlin
 

barker24

Junior Member
Zegers: You can find a full transcription of The Sound of Muzak (which appeared in Modern Drummer) here: http://www.jkdrumsolutions.com/. There's some other great transcriptions as well (including Blackest Eyes, Futile, and Cheating the Polygraph). They are worth the money.
 

szokematyi

Member
Hi Kalma!

How did the studio-thing worked out? I think Gavin's reply was more than helpful about the "clean cymbal-more overtones-eager beaver producer" stuff.

(Sorry Gavin and everyone for hijacking the forum, I promise it's only temporary!) ;)
 

David Floegel

Silver Member
Hi Kalma!

How did the studio-thing worked out? I think Gavin's reply was more than helpful about the "clean cymbal-more overtones-eager beaver producer" stuff.

(Sorry Gavin and everyone for hijacking the forum, I promise it's only temporary!) ;)
hey! It's on 28th of May, and I won't let them clean my cymbals! I told them they should give me other cymbals or let my cymbals as they are... I'll let you hear the end-result ;)
 

Ramtin HajatDoust

Junior Member
Hi
Dear Gavin,

Hope you are fine.

You are arrange the Gain of your microphones for high level and Maximum peak without attention the leakage or use the best Gain for Minimum leakage and use the ambiance sound on your mix in your studio?

Are you using the online compressors for recording or recording the raw sound then use it in your studio?

Thank you,
Ramtin HajatDoost
Tehran - Iran
 

ZGR8DCVER

Member
Hi Gavin,

some time ago you were asked about your Overhead-position.

If I remember right, you said you have them behind you as they were extensions of your ear.
So I guess, they are in a Y-Position?
Like in this picutre, just behind you?
http://recording.easylabs.de/_files/import/2006/09/itpd13.jpg


Thanks very much!
David
Bump +1

I too would love to know the answer to this question.
@Kalma, I read that post as well and was scratching my head; is it X/Y or ORTF(the image you posted). I have found that X/Y produces a very narrow stereo image, and can sound a bit flat. With the wide sound Gavin achieves I would imagine it has to be either ORTF or maybe..spaced A/B(as his live engineer uses)? Not to mention all the other variables.(Which you all know if you are interested in this post; I hope)

I will stop guessing and leave this to the master! As always thanks for all your inspiration, help with questions and extreme influence(positive) on my music playing and production.

Cheers!

P.S.
Gavin I picked up a pair of AT4050's which I believe you have/do at times use live and I love them! Thank you for the input...Always very, very appreciated!
 

steste50

Junior Member
Hello!

1st and foremost thanks for the great chat, jokes and teachings in Cavernago and at
Merula's (the sound was killer at Merula's): you really don't hold back any precious info, thank you! (too nice to hear you play the Meshuggah "bleed" riff).

1. In your studio drumset you got Your inside bassdrum mic hanging in the middle.
Is the inside pillow out of the way between the impact area
of the beater and the mic? In case the pillow was on the way does it affect the transient?

2. I've read on a manual that in order to choose the best place for the drumset in a
room you have to go around with a floor tom and play it until you find the sweet spot
because the floor tom is the hardest thing to get a good sound from. What did you
do for chosing the rite place of your drumset as a starting point in your studio?

3. What card do u use on your mac to speak with your Rosetta's?

4. Talking with u about the famous PAINT CAN INSIDE THE BASS DRUM a la Simon Phillips it suddenly reminded me of the water bottle trick for the sub. Plus it reminded me of how bass traps work. So the whole thing should come from treating a bass drum in a similar way we do for listening rooms i.e. we play with frequency responses of different object to change the response of the room. Am i rite? :)

Thanks as usual.
Stefano
 
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LukeSnyder

Gold Member
Hey Gavin, I just ordered your Rhythmic Horizons and Rhythmic Visions DVDs, I can't WAIT for them to arrive. I'm sure that they'll immediately consume a week of my life. I'm excited!
 
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