Todd Sucherman here!

Check out the lesson series by Ian Froman on the Vic Firth Website.The guy swings harder than Barry Bonds!

http://www.vicfirth.com/education/drumset/froman.php

I'm just starting to comp with both the bass drum and snare over a very generic ride pattern, and working in fills. A few months from now, though, I'll be able to start utilizing these more advanced ride patterns.

I've checked out some of Ians stuff on Vic's page, and he sure is badass!
I feel quite good now when it comes to my playing!

Btw Todd!
Just checked out the clip at http://www.youtube.com/watch?v=bKPdvIv8FWU !
You are badass on the drums!!
Also I got the Into the Green cd! I've just started to listen tro it, but it sounds really good! Great job! Keep up all the good work!

Cheers from Sweden
 
Todd,

I just bought your DVD. Very well done. This should keep me busy for a couple of years!
I like that you had the balls to say on your DVD to get JoJo's DVD!

I first saw you play on the Styx concert with the youth orchestra. You were so impressive in that show, that when I heard you had a DVD, I knew it was a "must have".
Also, thanks for being available on this forum! Please let us know when you have a clinic in the Philadelphia area.

Thanks,

Jeff
 
2b---

A pleasure to meet you and thanks for coming out! Glad you and the Mrs. had a good time. To your questions.

1. No. I might get requests but that was just a simple thing of changing up sections. Hats open on "and" of 4 every four bars in the verse and every 2 bars in the chorus. Just to break it up and give each section it's own feel---even though it's a simple groove.

2. Shoes? Suede ankle boots by John Varvatos. They weren't cheap but they are comfy and stylish!

Thanks again!



Larta--

Thanks, man! Hope all's cool with you.


jjmason--

Thanks for picking it up and for sharing your feedback with me. I really appreciate it! Hope it continues to give you ideas.

Cheers from Jacksonville, FL.

Todd
 
Hey Todd, Is there any Styx songs you guys can't play because they were written/owned by Dennis? Or has he been cool with things as long as he gets his royalties a la Steve Perry?

Thanks...
 
So, I had seen your playing for the first time (sorry!!) in the Demon Drive videos, and I was blown away. For some reason, I never thought to watch more until today. I watched you playing Tears of Joy on YouTube, and holy hell!! I need to get this DVD. Also, is there any chance of a clinic in or around the Philadelphia area? It would be awesome to see you!

Take care
 
Hey Todd...

Hope you're well!

Again, I'm wondering....

I really dig the TS 330...I use it on the xpad only, because I only own that one pair. This stick kinda turned me into a 5B guy, I must say. Although I can't really handle the Hickory ones that well. I also like and mostly play the V**** 6B sugar maple because I find it to be like a distant relative to your 330W.

How would you further describe the TS-330 than you already did in MM? I learned that it sums up most of the characteristics you demand of a drumstick and I fígure that you feel comfortable playing all styles of music with this stick....heck I can imagine that myself...it's fairly thick, yet not heavy..it's very well balanced.
But what if you decide to create another autograph-series stick? What if pro-mark approaches you again...?

Or is the question rather and just simply: What's your second favorite stick, Todd?

:)

Thanks for your time and all the best from Bavaria,

Andreas

PS: Have fun tonite in Valdosta!
 
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Hey Josh---

Thanks, man. I appreciate the kind words. As far as clinics go, I have to be invited by a dealer. That's basically how it works. I don't choose where I do them. I'm now hitting the busy touring season so I'll be on the road for the better part of the next 6 months. I do hope you choose to pick up the dvd and that it inspires creativity in your playing and thinking! You can order it here and it'll hit your mailbox quickly.....thanks again!

http://altitudedigital.com/todd-sucherman-methods-and-mechanics.html

Andreas--

To answer your question, I don't have a 2nd fav. THAT is my stick and I use it for all the music I play. Not sure I can describe it's attributes any better than I did in the dvd, but it is a unique stick that feels familiar....not unique in a peculiar or goofy way. I have no need or interest in a 2nd stick. So, that's that!

Cheers from Austin,
TS
 
Hey Todd,

I just wanted to compliment you on you're great performance on "Tears of Joy." I can't explain how inspiring I find playing like yours - although I bet you understand.

I'm wondering if you recommend any albums in particular where you really feel like you were able to express yourself as a musician and drummer.

Thanks,

-sheldon
 
Hey skreg,

Thanks for the compliment. I appreciate it! I'm on a lot of records doing 1 or 2 tracks and often I'm playing what the producer/artist wants. Far and away my biggest "freedom" is my DVD, Methods and Mechanics...

http://altitudedigital.com/todd-sucherman-methods-and-mechanics.html

I really don't have "fusiony" records but I did most of Steve Cole's "Spin" record--smooth jazz--but musical stuff, not wussy elevator stuff. I like that one. The two Taylor Mills records "Lullagoodbye" and "Under the Surface" I produced and played exactly what I wanted and I adore those records.

http://taylormills.com/

The two Styx records I'm most proud of are "Cyclorama" and "Big Bang Theory." I also have a pretty extensive audio gallery on my website. You can kill a couple hours sifting through the examples here and seeing what you dig:

http://www.toddsucherman.com/sucherman-audio.html

There you can check out all sorts of stuff, live bootlegs, etc. Hope you enjoy it and thanks again, man!
Cheers,
TS
 
I've been wanting to get your DVD for quite some time, so I finally decided to order it this morning. I'm almost two months without cigarettes now, and I'm trying to reward myself with books, dvds, equipment etc. Apparently drums are more addictive than tobacco.

The Taylor Mills album sounds fantastic. Your playing does not sound generic, but it doesn't sound bombastic or overbearing at all. I really like the way you've incorporated the toms into "Anything." I must say that the sound of the recording is also exceptional. You're lucky to be working with such great sound engineers and musicians. I just bought the mp3 album and I can't wait to listen to it all the way through. I run a little studio at my school, and we had some water leak in through the ceiling yesterday. Luckily, nothing was damaged, but I have move all the equipment again and clear out the wet ceiling tiles. Now I have something to listen to while I set up!

-sheldon
 
Hey Sheldon,


Thanks a lot! Hope you dig the dvd and glad you're digging the Taylor Mills stuff. And I hope your clean up situation with the studio is OK and that all is well with the equipment.

My best to you-
Todd
 
Hi Todd...

Wow...you have a pretty tight schedule in the upcoming months as I learned from styxworld. I wish you good luck with that and I hope you stay healthy, Todd!

Here we go: I've been working on my singles and doubles and all sorts of conjunctions since I layed hands on MM last year. Unfortunately I'm reaching a level or rather a limit of speed lately that I'm having a hard time to surpass. I'm not talking about coordination and evenness...this seems to me to a be a sheer matter of power...but I don't really know. I can go fast on the xpad but when it comes to the drum I drop out at about 90% of that speed....and I'm far from what YOU can do (as far as I can tell from videos and MM).

Would you rather recommend to practice speed and evenness on a surface with more rebound like e.g. a mesh-head? I figure it's a finger/wrist - thing especially on the left hand since I play trad. It always seems to lag at higher speeds. I really dig your alternating doubles/singles - exercise, Todd....it brought my singles way forward!

Sorry man...this is the best way I can put it other than simply asking "How do you do that?"


Thanks Todd,

Andreas

PS-Update: What do you think about aluminium sticks for practicing strength, Todd? Or do they tend to mess with someone's touch? ..Again, thank you!
 
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Hi Todd!
I have some questions about recording.
How do you work when you record? do you record with the whole band in one take or do you record the drums first?
What do you prefer?
I recorded with one of my bands this past weekend, and we recorded the whole band in one take, and I wasn't comfortable at all with that.

What do you think when your recording?
How do you know that it will sound good when you record during the take? what do you listen to?

Hope everything's cool with you!

Cheers from a pretty warm sweden
// Erk
 
Hi again!
Todd, if you would to design a signature snare drum, what would the result be?

Cheers
// Erik
 
Hey Todd,

Big Fan of your DVD, constantly going back to it and stealing licks! ; )

Question I have is in the DVD you have a double headed mounted bass drum in the normal gong bass position. I know on your recent kits you have a standard single headed Pearl gong drum. Was curious as to how much of a difference that second head makes?

I know Deen Castronova (sp?) from Journey seems to go back and forth between a standard gong bass and a double headed mounted bass drum. Anyway would love to hear your thoughts on the differences.

Thanks
 
Gablushe--

Play as much as you can on the actual instrument----a real drum. Mesh heads can supply even more "fake" rebound that will disappear when you get to a drum. I use a mesh head backstage more for the silence factor so I don't piss anyone off. 40 minutes on a regular practice pad can get on the nerves of those you share space with. But play on all surfaces. Even a bed (mattress). I can still pull out the fast stuff on a no rebound surface. It's a matter of spending time doing it. It's hard to really suggest anything without seeing you play. But keep at it.

I'm not a fan of the weighted sticks. There was a study I heard about with baseball players who use the weighted bats to warm up with---and they actually slowed the swing compared to those who warmed up with the bat they use for the game. I can't substantiate this, but if it's true, then there's your proof.

Larta--

I've recorded (and still do) all the ways you mentioned. As mostly a hired side man, I do whatever the artist/producer requires of me. It's special to have a whole band play at one time, as long as everyone is good and on the same page musically. It can be a drag if there's a weak link and someone is messing with the time/feel. But I'm completely comfortable in doing it both ways. I'm thinking about getting a good take which means: playing the song, shaping the song with dynamics, responding emotionally to the lyrical content, maybe creating some thematic simple parts, making sure any or all fills not only fit the musical moment but that they all make sense in a collection of fills throughout the piece, playing good time and making every bar feel good--and making every note count. I want to play the truth, you know?

I have an idea of what will work because I've been doing this so long. But sometimes I'll hear a playback and something wasn't quite right, whatever it is, and I have to identify the problem and fix it on the next take. As far as what I'm hearing---I'm hearing whatever is there as far as musical information and a click if one is being used. (Most times it is.)

I have no interest in a signature drum. I like lots of drums. But it would be nice to have a solid sterling silver shell, engraved, and encrusted with rubies, diamonds, emeralds and sapphires. But then most people, including myself, couldn't afford one!

Gongbass---


Thanks, man. You know, both have their charms. I have a double sided 22" up in my studio now. It's cool to have some different options. A single might have a touch more attack and a touch less lows, and a double is more like a big floor tom with some extra resonance from the bottom head. It's a little fluffier. I dig them both really.

Thanks for your questions, guys.

Cheers from Baton Rouge,
Todd
 
Hi Todd!
It's kind of a drag to record everything in one take, especially when our bass player only played bass for 2 years now, while me and the guitarist has more years behind us on our instrument. Even if I like her as a person and think that she's learned alot playing the bass with us for the lat years or so, I feel sometimes that I want someone with more experience on the instrument.

Some more questions:
Have you recorded something with Jerry Goodman else than the trcks he recorded for you?

I saw a video on DrumChannel.com with a little interview with you in it. Will you appear some more in the future(you want to)?

Btw, I noticed that you did a clinic with Jimmy DeGrasso. He's also been a huge inspiration to me. He's pretty much badass when it comes to "metaldrumming"(If I can express it that way). How was it to do a clinic with him?

Anyway, I try to think positive thoughts about life and realise at we get gigs and get to play drums infront of people and feel the energy and joy of playing. It keeps me young(okey, I'm 21, so I'm not old either). My teacher Roy has given me alot to think about when I play and was thinking I could share some things that he thinks about when he plays and practice.
You can perhaps say what you think of these thoughts

Here are more thoughts about how you could approach practicing listening with your heart:

1. What does the music make you feel? Don’t talk; express it through your playing!
2. Listen to the melody and play it how it wants to be played. Listen to it’s own expression with your heart and express it through the playing.
3. Listen to the melody being played by you and express through your playing, the feelings that are being evoked by your playing of the melody.
4. Allow the melody play you instead of you playing the melody.
5. Let the music play you instead of you playing the music.
6. Be in the music.
7. Become the melody that you are playing.
8. Realize that you (love) are the melody that you are playing.
9. Learn the text as it can help and enhance your heart’s perception.
10. Play/Sing the text. The text can enhance your heart’s perception as the text deals with feelings. Sing the text and the feelings that it inspires through the instrument
11. Play Ballads and listen to each note, realizing that your greatness (love) is being expressed by you, through you.
12. Be aware of what you are saying by listening and being aware to meaning of what you are saying.
13. Improvise with space so that you can reflect and be aware of what you are saying.
14. Sing! Singing tends to be less intellectual and more from the heart.
15. Play what you sing…. Your instrument is an extension of your heart’s (love’s) expression. Try avoiding singing what you play.
 
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