Gavin Harrison here!

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 ;)
 
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
 
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!
 
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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Hi Gavin!!!

First, I‘m a great admirer of your work. Thank you for share your knowledge with us.

After months of work and convince my wife haha, I‘m ordering an Sonor SQ2 drumset like yours (8, 10, 12, 14/15, 16"). It‘s an old dream come true.

But to me is difficult decide what kind of shell is the ideal.

Yesterday I called to Sonor and they recommended the vintage maple shell, because it produces an open sound that fits in every music style.

I know that you have two drumsets, in USA - vintage and in Europe - like the old designer.

I heard and watch all your dvd‘s and internet clips to compare the sound of both kits (like in the song anesthetize from Atlanta album and from the DVD), but I didn‘t find great differences and don‘t know what comes from the drum shell and what is the room, mics, effects, mixer.........

So, my question is:

1) In your opinion what‘s the difference in sound betwen these drums in a raw situation, without microphones?

I‘ll use it in a home studio and in the church. I‘m not a thrash/death metal guy, I like to play songs like 19 days, plasson, and some of Porcupine Tree, Incognito...

2) In your opinion what kind of shell sounds better on these kind of songs?



Thank you very much,

Marcos (from Brazil)
Ah, last year my friend brought from England to me a Gavin Harrison signature snare drum. I love it, great snare...
 
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?

I think I'll answer this one a bit for you (as I have seen the documentary about Keith where this line comes from, in fact I believe it was Herbie Hancock who said this about Keith Jarett) although it's not really drum related (but perhaps that Gavin understands the question better now).

The difference between jazz and classical music (and this is true for any instrument, not just the piano) is the way a composition should be interpreted and amount of information that is given to you as a player. Classical music has every note and nuance scored out. A piece should be performed exactly as written on the page. Jazz is not perse the opposite but a lot more freely. The aim of Jazz is to play in the moment which gives the result of every performance being different. You have a lot of freedom to interpret the music that's on the manuscript paper. Jazz is a lot about creating your own parts in the moment you are playing, classical music has it all scored out for you. This is probably the difference in neurological processes in your brain. Schematically, this is what happens when playing classical music:
Read the music on the paper -> translate that info to your limbs -> perhaps take cues from the conductor (depending if you are playing solo or in an orchestra) to adjust your playing and interpret the paper in a slightly different way (perhaps the feel or the tempo).

And this is what happens with jazz:
Read the lead scheme on the paper -> interprent this into your brain -> listen to what everybody else is doing -> try to see what you can play with the (very basic) information you got from the paper and develop an idea out of that -> translate that to your limbs -> hear the result -> perhaps adjust as you go along in your idea

As you can see, there is much more happening when playing jazz. And this is what makes Keith stand out (though Chick Corea is probably on par with Keith, Herbie a little bit less I think). Keith (and Chick for that matter) has the ability to play with orchestra's and play any classical composition in the way a classical player would. However, they are also able to interpret the music and adjust/arrange it on the fly, while playing in such a setting (i'm not sure if Keith ever did that, but I know Chick did when performing Mozarts compositions with orchestras). They can bend the rules in any way they want at any given time. Jazz pianists can really improvise (and in the case of some, like Keith, Chick and Herbie also arrange/compose) at any given time over any lead sheet and make something out of it. Classical pianists can traditionally only play what's in front of them. Take any piano piece from Mozart, the notes played are always the same, no matter who's playing. Take any Jazz standard and it's never the same. That's the difference in training and what makes it difficult for a classical pianist to play with a jazz quartet and for a jazz pianist to play with an orchestra and perform a Rachmaninov composition. It's not really a style issue (as I believe you are implying with your question). It's a "skill" in reading and interpretation.

sidenote: some of the best improvisers in jazz are also some of the best composers in jazz. Improvising, composing and arranging are very closely linked to each other.
 
HI K_HiHats

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.

It's triplets grouped into 5/8 (but inside a 4/4 time signature). It's actually the same pattern as the start of this video. http://www.youtube.com/watch?v=WKCIUpW3q9s

I have no way of transcribing it for you here. Maybe someone else could do it for you?

Hi Heck99

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?


Yes I have a 19" crash and it is very good indeed. I haven't tried the whole line yet. So many cymbals - so little time to try them all.

Hi Dont Taze Me Bro

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.


Yes I'd like to try it - but they were not available in the UK last time I checked. I saw and heard one at a Remo demo day and I was very impressed.

Hi Nils

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.

yes I did play it. It would have been made from a small cymbal and not a ride.

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

The short answer is no. I don't own the tracks - and sometimes (as in the case of In Absentia for instance) Warner Bros own the recordings.

Hi Kalma

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/.../09/itpd13.jpg


Yes they are in an open Y position right behind my head - about 6 inches above. But not like that picture.

Hi Ramtin HajatDoust

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?


I set set the gain for optimal level without distortion.

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

I don't use any compression before the sound gets to the recorder. Only a little bit of EQ from my analog desk. All other processing is done inside the computer after the recording is done.

Hi steste50

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?

Yes the pillow is out of the way.

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?

In my studio there was only one position to place my drums - so I didn't make this test as you describe.

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

MOTU Traveler.

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? :)

You could do that if you so wish.

Hi Rítmico

1) In your opinion what‘s the difference in sound betwen these drums in a raw situation, without microphones?


I would say that if you play quieter music then the vintage shells work great. If you play more rock music then the thin/medium shells are better - but the difference is small.
It's also a matter of personal taste - so I can't really tell you what to get.

Hi Elyar Khosravi

i see different microphones in ur clinic or PT live or festival but your sound is samething and doesn't change, how u mix your sound ?do you have a own mixer ? or how u edit your sound .


The sound does change - but not that much. It's very important to understand that most of the sound comes from the drummer and the way a drummer hits the drums. Having good drums and good heads are of course a big help - but it won't make you sound like someone else.

cheers
Gavin
 
Hey Gavin,

did you have some physical problems in your time as a drummer (except tenosynovitis)
because of the drumming? If so can you tell me about it?
I'm asking because your kit is wider than mine and I read somewhere
that sportsmen (athlete's etc.) have problems with their rotators because they
have to do some overhead motions. I don't know if you can apply that to drumming.
Maybe you can say something to that if you know what i mean.

Thanks Gavin!!!
 
Hey Gavin! Thanks for the response. I think I understand a bit more now, and I already knew about the video. I've watched it like 20 times. It's a really good tune.

Now just one question. (That's right! I'm only asking ONE question this time!) Interestingly enough, it regards that tune you referenced me to, only this is the DVD version I'm talking about. In the video (link below), there is a splash between your two crashes. I'm just wondering: what is that splash? I recognize the sound from one or two of the albums, and I just love the sound it makes. I'm just wondering what it may be. (Possibly an EFX #1 Splash? I can only guess that because I know that you may have used one at some point.)

Here's the link:

http://www.youtube.com/watch?v=egmqHXCR370

Thanks for taking the time to answer.

Cheers --Peter
 
Hello there,

I just had a thought while discussing it with a friend of mine who's also a huge fan of yours (even though he's not a drummer) and he absolutely loves your cover of Killer Joe from the Guitar Center sessions. Do you know who's arrangement/recording of the song that you played over was? Or was it an original arrangement that was specifically for you? Thanks in advance. :)
 
Hi Gavin

Have a quick question for you!

Been watching a number of your videos in regards to musical drumming vs technical drumming - ive been playing for about 5/6 years now, and i guess ive been getting less impressed with the uber technical stuff and more impressed with some of the classical drumming - Jeff Porcaro/ Weckl etc. One reason i enjoy your drumming as much is you seem to blend those more classical elements with contemporary technicality, which is a really nice balance.

To my question:

I grew up listening to a particular drummer that is well known, i guess, for over playing a lot - which sort of goes with the music really. I really still enjoy this music, however its now gotten to the point that in my efforts to copy that player I am playing a very similar style, yet not in the context of such technical music, which as you can imagine might cause a number of issues!!

I was wondering how i go about 'un-learning' things, or at least tempering it so that I don't destroy the music or annoy other players by playing what i think is natural simply because its in-grained in me to play a certain way. I find myself simply doing the same stuff over and over which can be a great frustration as well!

Many thanks for your work in helping us drummers become more musical and less egotistical! :)

Also, if folks have the time, please have a look at the 3 min video in my signature - hope it is helpful!
 
Hi Gavin, When I looked around the forum I saw you mentioned various books or dvds which can help. I ordered rhythmic illusions, I'm really excited to read it and I know about your other books and dvds, but I wonder if you could give some advice/ tips on what books to look at, because there are so many of them and I just haven't got an overview yet. (If it is possible at all to get it) Thanks in advance and keep it up, you're doing a fantastic job ;)
 
Hey Alex P.! Thanks for the transcription. This is much better now. I planned on sending out a call for it anyways, but I guess you saved me the trouble! So... Thanks a bunch. By the way, I just wanna take the time to thank you for transcribing some of the PT songs, especially 'Blackest Eyes.' However, I can't seem to get pages 1 and 5 of 'The Start of Something Beautiful.' It brings up this "404 Not Found" Message when I click on the links you have posted from a while ago. Do you, or does anyone else know what happened? Could you possibly just repost the images on here? (It's much easier to save and print from here.) Thanks.

Cheers --Peter
 
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Hi Gavin!

Do you feel your timing varies ever so slightly from day-to-day or do you wake up every morning and can bury the quarter note click at 40bpm with ease? I feel that some days I just have to work a bit harder to be accurate at certain tempos. Any thoughts and ideas on this?

When you play to a click at eg a PT show or during a session, do you sometimes wander off the click (I mean just a small fraction, probably only noticeable by you) during a fill or difficult passage or do you feel you are always bang on it, if you want to, whatever you play?

Cheers
Peter Yttergren
 
Hi Gavin,

Thanks for your answer and attention.

Just one more question:

What‘s the reason to choose a 15" floor tom instead the most common 14" in your Euro kit?

Thank you,

Marcos
 
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