Gavin Harrison here!

Hey Gavin,

As I've followed your playing for a while, I noticed that you never really use grooves with both hands playing sixteenth notes on the hi-hat (except for a few little parts where you might play it with both hands for a roll or something). Are you just indisposed to playing like that (and if so, why?), or did you just never try playing like that?

On a side note: I LOVE your playing on Paolo Gianolio's new album, it's incredible! So tasteful, as always.
 
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Hi Overg

What I am saying is that playing B (in most cases ..) is much more easy then to play A, so the question is , why to play A in the first place? if I can just play B and get the same effect.

I'm afraid to tell you that you are completely missing the point. Can you see that the B Status is not the same as the A Status - and therefore how could you hope to achieve the same effect?

(I understand from the booklet, that you only play A, and you create a very complicated rhythmic illusion that sound LIKE B , but in many cases the B is much more easy to play.)

I don't know how to explain better than it is in the book already. The B Status is only there to illustrate how the illusion should sound.

Hi Kalma

Who sets up the new click for a new song live?

We have an operator.

Hi Joe P

As I've followed your playing for a while, I noticed that you never really use grooves with both hands playing sixteenth notes on the hi-hat (except for a few little parts where you might play it with both hands for a roll or something). Are you just indisposed to playing like that (and if so, why?), or did you just never try playing like that?

Jeff Porcaro explains it very well in his instructional video: it's just because it can sound smoother played by one hand (only on tempi up to about 98bpm - after that it becomes too hard and you'd have to switch to two hands).

cheers
Gavin
 
Hi everybody, hi Gavin! nice to meet you ( on internet )

I'm "super-ultra" new here... ( this is my first post ), i was reading some questions and let me say that people here are very curious, pretty nice!

also, i was listening your album "Drop" ( i don't have Circles yet... is really hard to get one from here... Peru ) ... I heard the song "for lack of" and I was fascinated by it. the completed recording is simply great! i love it.


: How did you manage the situation to compose that kind of songs?
i mean... ric with his elegant extended range bass and you in the drums.... a kind of improvisation????

anyway. Good luck everybody

Pedro


pd: I am embarrassed 'cause my grammar is terrible...I need to improve
by the way.... i like this photo ... http://byfiles.storage.live.com/y1p...yXqCEuK7HF88dDVhK2WHeRRTvNs7x3yJZDtNygFCqx2KA
 
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yes, this one I understand.

What I am saying is that playing B (in most cases ..) is much more easy then to play A, so the question is , why to play A in the first place? if I can just play B and get the same effect.

(I understand from the booklet, that you only play A, and you create a very complicated rhythmic illusion that sound LIKE B , but in many cases the B is much more easy to play.)

Or I am missing something here ?

Thanks!
B is always an "easy" and recognizable groove, that's why the listener will most likely fall into that. But it will be a wrong pulse! You're placing the notes of the easy groove in an unusual way, and although the listener recognizes the pattern, it leads to a wrong tempo and pulse, the quarter note he hears isn't the actual one.
Of course you can - as a player - hear the same thing too, but you mustn't be tricked into the fake time signature by your own playing.
I hope maybe that clears it up a bit...? Otherwise you should Gavin's book aside, take up an easier one and go back to Gavin's in some time ;).
 
B is always an "easy" and recognizable groove, that's why the listener will most likely fall into that. But it will be a wrong pulse! You're placing the notes of the easy groove in an unusual way, and although the listener recognizes the pattern, it leads to a wrong tempo and pulse, the quarter note he hears isn't the actual one.
Of course you can - as a player - hear the same thing too, but you mustn't be tricked into the fake time signature by your own playing.
I hope maybe that clears it up a bit...? Otherwise you should Gavin's book aside, take up an easier one and go back to Gavin's in some time ;).

THANKS YOU!
now it is crystal clear.

I was afraid to bother Gavin again :) ( it seems that he didn't understand the root of my prob.. and we were going around in circle, can;t blame him though he probably too busy to dwell on this :) )
 
Hi pedro_

also, i was listening your album "Drop" ( i don't have Circles yet... is really hard to get one from here... Peru ) ... I heard the song "for lack of" and I was fascinated by it. the completed recording is simply great! i love it.


Thanks - it is available here http://www.burningshed.com/store/gavinharrison/
or iTunes too.


: How did you manage the situation to compose that kind of songs?
i mean... ric with his elegant extended range bass and you in the drums.... a kind of improvisation????


Some of the songs actually started with the drum rhythm other times it was a bass or guitar idea and I figured out a drum rhythm that I would like to go with those. I suppose they all began with some kind of improvisation - but that was on my own. I don't know exactly how Ric generates his ideas but I imagine it's a similar method to myself of picking up an instrument and just keep playing until something you like comes out. I guess that's when you intellectually edit your own ideas - applying your own personal style and taste.

When I'm just jamming on the drums I'm quite aware of what I've played before - and what I think are cliche ideas - and so I try to invite unusual things into my playing. I love it if I play something that doesn't sound like me.

cheers
Gavin
 
Hi Gav!

Just registered on here so thought I would send you a message. As you can guess by my name im left handed but play right handed. Is that unusual? I chose to play right when I started 12 years ago, only as I didnt want to be a pain in the backside at gigs. My left is my strong side and my right is ok but not up to scratch. Any excercises I can do to balance both sides out?

Oh n one last question for now, my double pedal attachment rod for my iron cobras has play in it, Even tho I use it sparingly in music like you. A new one is £80! Can I get a cheaper one? Money is a lil non exsistent atm...

Cheers for now,

You are an inspiration - Chaz
 
Hey Gavin, I have been an avid fan of yout playing for years, all the PT stuff and I think I have watched just about every video of you on youtube. Especially Slippin' Away which is perhaps my favourite piece of yours.
Out of all the questions I could possibly ask, I have been dying to know how you made your custom splashes, like how you cut the old cymbals down and things like that? I am quite interested in the idea and would like to make my own but I would like a bit of help first!
Thanks for the years of contribution to my playing.
 
Hi leftyrightplayer

As you can guess by my name im left handed but play right handed. Is that unusual? I chose to play right when I started 12 years ago, only as I didnt want to be a pain in the backside at gigs. My left is my strong side and my right is ok but not up to scratch. Any excercises I can do to balance both sides out?

It's not that unusual. Do you play left lead? I think that's quite an advantage for a lefty to play on a right kit (as Simon Phillips/Billy Cobham do).

Oh n one last question for now, my double pedal attachment rod for my iron cobras has play in it, Even tho I use it sparingly in music like you. A new one is £80! Can I get a cheaper one? Money is a lil non exsistent atm...

I have no idea.

Hi smemz

Out of all the questions I could possibly ask, I have been dying to know how you made your custom splashes, like how you cut the old cymbals down and things like that?

have a look at this post from earlier in this thread...
http://www.drummerworld.com/forums/showpost.php?p=246160&postcount=507

...but I must warn you about the dangers of doing this. In fact I showed this method to an engineer friend of mine - and he freaked out and told me it was very dangerous - so I have stopped doing it. I found a local blacksmith who has cut down cymbals for me - it's obviously more expensive - but definitely worth it.

cheers
Gavin
 
Hey Gavin,

I want to buy me a Sonor SQ². Do you think, that that set is good for playing
Jazz, Funk, but also Progressive Rock or Metal ??

best regards
C.L. - Drum

PS: You are the best!! ;-)
 
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...but I must warn you about the dangers of doing this. In fact I showed this method to an engineer friend of mine - and he freaked out and told me it was very dangerous - so I have stopped doing it. I found a local blacksmith who has cut down cymbals for me - it's obviously more expensive - but definitely worth it.

Did he mention why it was dangerous? I recently replaced my whole cymbal lineup so I was planning on cutting down all my old ones into little chimes. Was it perhaps all the little shards of metal that would probably fly off once you smoothed the edges down against the emory cloth?

I was going to follow your method described in that thread but my electrician friend suggested using a bench grinder to smooth down the edges instead of attaching them to a drill and running them on emory cloth.
 
A lot more shards of metal will come off with a bench grinder, and unless you're extremely careful, you're possibly going to heavily damage the cymbal :-/ I can see how it can take way less time than using sand paper, but the result of sand paper is worth it, besides, it's a lot more difficult to get a perfect shape with the bench grinder.
I'd still recommend, as Gavin suggested, turning to an expert who will have both the tools and the expertise to do it not only better, but also safer.
Hope that helps!

Fox.
 
We've got the right tools at work. I tried it with a metal bit for a jigsaw and used that (after drilling a hole near the bell). Finish off on the grinder and sand the edges off. Obviously use eye protection when using drills and grinding machines. The second one I just gave it to a mate who's dad was an engineer, came back nicely cut and cleaned up!
 
Hi C.L. - Drum

I want to buy me a Sonor SQ². Do you think, that that set is good for playing
Jazz, Funk, but also Progressive Rock or Metal ??


Absolutely - there are very versatile drums.

Hi NeuroAxis

Did he mention why it was dangerous? I recently replaced my whole cymbal lineup so I was planning on cutting down all my old ones into little chimes. Was it perhaps all the little shards of metal that would probably fly off once you smoothed the edges down against the emory cloth?

To have the cymbal attached to a hand held drill on a make shift spindle is dangerous. If it became loose and flew off it would be going at incredible speed - enough to take your head off. I would recommend that you find a blacksmith - it will also take out all the hard work of cutting and sanding and he'll do a much more accurate job too.

cheers
Gavin
 
When I'm just jamming on the drums I'm quite aware of what I've played before - and what I think are cliche ideas - and so I try to invite unusual things into my playing. I love it if I play something that doesn't sound like me.

cheers
Gavin

I'm glad you and I share the same sentiments :)
 
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