Gavin Harrison here!

Hi Gavin,
Do you have any issues with sweaty hands when playing?
Ive started using the vic grip sticks and theyre great up until my hands start sweating and then they start slipping like crazy.
Also do you know any methods to reduce how sweaty your hands get when playing?
Thanks!
 
Hi Gavin,
You've given the drumming community so much - inspiration from your playing, videos, transcriptions, interviews, instructional DVDs and albums playing with great people.

Somewhere along the way in this blog you mentioned something that benefited you - the book, "Effortless Mastery" by Kenny Werner. I wanted to let you know I bought that book and once again I'm motivated about playing as another influence from you has touched me.

Thanks Gavin,
Stuart
 
Gavin,

I have noticed on your newest album with 05Ric that there are a lot of songs where you use linear notes (preferrably between the hi-hat/bass). If I'm not mistaken, I believe linear notes are those that are not played simultaneously. One note follows the other right?

Examples include;
The Man Who Sold Himself @ 1:09
Identitas @ 2.09
Awake @ 1:13

Just thought I'd point out that I've never heard so much linear drumming on one album.

Thanks for your time

Eric
 
Hi JakkP

Do you have any issues with sweaty hands when playing?
Ive started using the vic grip sticks and theyre great up until my hands start sweating and then they start slipping like crazy. Also do you know any methods to reduce how sweaty your hands get when playing?


I can't say I've had that much trouble with sweaty hands. I can feel more grip confidence with the Vic Grip sticks (despite dropping one in the middle of my Dave Letterman performance haha). Can you dry your hands in between songs on a towel? I believe there is a couple of other solutions - a product called "Gorilla Snot" (I'm not joking) and there's some kind of powder that sports people use - like weight lifters etc. - neither of which I've ever tried.

Hi drumstu

Somewhere along the way in this blog you mentioned something that benefited you - the book, "Effortless Mastery" by Kenny Werner. I wanted to let you know I bought that book and once again I'm motivated about playing as another influence from you has touched me.

thanks - I'm glad you like the book - I found it a good help.

Hi euphoric_anomaly

I have noticed on your newest album with 05Ric that there are a lot of songs where you use linear notes (preferrably between the hi-hat/bass). If I'm not mistaken, I believe linear notes are those that are not played simultaneously. One note follows the other right?
Examples include;
The Man Who Sold Himself @ 1:09
Identitas @ 2.09
Awake @ 1:13
Just thought I'd point out that I've never heard so much linear drumming on one album.


That's correct - and usually there's snare ghost notes filling in between the main hi hat, snare drum and bass drum notes. I find linear patterns kind of interesting and challenging to play and a really nice way to compose. In fact the verse pattern of Identitas is all 4 way linear (a 27 note cycle) which sounds scary - but as you can hear in the second verse at 2:09 it's just 3 x 7 plus a 6. Then I superimpose a 3/16 override on the hi hat (because 3 divides into 27 by 9)

Cheers
Gavin
 
Hello Gavin. Could you tell what hihats do you play on that 05ric rehearsal video where you play in a studio. Do you also play same hats on the Asian clinic tour announcement video? Thanks :)
 
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Hi Xero Talent

Just wanted to pop in and say I'll be checking out your Clinic here in Ottawa on Sept 25!!

Great - see you there.

Hi scottishhaggis

Could you tell what hihats do you play on that 05ric rehearsal video where you play in a studio. Do you also play same hats on the Asian clinic tour announcement video?

Yes they're the same hi hats - even though my ones say "Sound Lab Prototypes" I can confirm that they are the new Constantinople 14" hi hats by Zildjian - and they're amazing!

cheers
Gavin
 
Hey Gavin! First of all: you're probably my favourite drummer of all time, and I think it's awesome you take the time to answer people's questions on here. Second of all, a few questions of my own...

What kind of pillow or padding do you use inside your bass drum, and do you press it right against the batter head?

What is your technique exactly for those wicked little rolls you use in between beats a lot? (i.e. 1:30 in Way Out of Here)

Are you planning on coming to Toronto or Hamilton any time soon?

Thanks!
 
Hi EasterInTheBatcave

What kind of pillow or padding do you use inside your bass drum, and do you press it right against the batter head?

it's a heavy pillow stuffed with feathers - and yes it presses up against the batter head.

What is your technique exactly for those wicked little rolls you use in between beats a lot? (i.e. 1:30 in Way Out of Here)

They're just 5 stroke rolls rrllr

Are you planning on coming to Toronto or Hamilton any time soon?


next week actually!! Please pass the news onto any of your Canadian drumming friends.
Screen Shot 2012-09-12 at 18.33.46.jpg

cheers
Gavin
 
Hello Gavin, me again here. Regarding your last answer about the hats. Constantinoples are probably very great ones to play. Are you playing them only for the clinics and 05ric or have you completely switched to them? Are they any good for heavier music? It seems that this is a switch from 13 inch to 14 inch. What made you switch the size? Thanks
 
hello Gavin!
Sorry for talking again about your custom bell's ! I tryed to look if I can find the answer in the other pages, but with my english, it's too hard to read all the forum!!!
I must cut some broken crashes to do a litlle rack like you. I've got a 14" K thin crask, 15" A custom and a 16 A custom. My question is how to determinate witch one will be the little bell, the medium, etc. Big crash = big bell (6") and little crash = little bell (4") ? I don't want to do a mistake when I'm going to cut the cymbals... I imagine you tried different configuration before finding the sound you wanted.
Also, is it possible to find your DVD subtitled in French?

Thanks a lot, this is a chance to talk with you and follow this forum. Unfortunately, I discovered too late to read all...
 
Gavin, when you played your solo on Letterman did you have a click in your ears or were you "free ballin'", so to speak? I noticed the band all came in exactly where they were supposed to without a count in, which they didn't do when Dennis Chambers soloed (and he didn't use ears).

Thanks again,

Eric
 
Hi Gavin, just wanna say Can't wait to see you when you come to KL in Malaysia for a Clinic! :D

Take Care.
 
Hi Gavin

I am studying for my BA Hon in drums and part of the examination process is a study of an artist and the techniques/tools they employ. To accompany this a transcription showing their use. The artist I chose is you. Your drumming has really inspired me, particularly your ability to groove no matter how technical the parts you are playing.

I was hoping you might be able to point out specific concepts you employ, from either of your books, within your Porcupine Tree drumming and give examples.

Any help/insight will be greatly appreciated.
Keep up the fantastic drumming,

Alex
 
hello Gavin!
Sorry for talking again about your custom bell's ! I tryed to look if I can find the answer in the other pages, but with my english, it's too hard to read all the forum!!!
I must cut some broken crashes to do a litlle rack like you. I've got a 14" K thin crask, 15" A custom and a 16 A custom. My question is how to determinate witch one will be the little bell, the medium, etc. Big crash = big bell (6") and little crash = little bell (4") ? I don't want to do a mistake when I'm going to cut the cymbals... I imagine you tried different configuration before finding the sound you wanted.
Also, is it possible to find your DVD subtitled in French?

Thanks a lot, this is a chance to talk with you and follow this forum. Unfortunately, I discovered too late to read all...
You might find this thread helpful - I've made 25 DIY bells during the last few months (inspired by Gavin!) and towards the end of that thread are the materials I used to build some bell holders and their dimensions.
http://www.drummerworld.com/forums/showthread.php?t=92087

You don't need to pre-determine the pitch of the cymbals. (I think their pitch is pre-determined due to their design - material, bell size). Just identify a reasonable diameter for each cymbal for the bell. Make sure you have some 1 cm or 1/2 inch of bow around the bell (the area where the bell ends and the 'flat' part begins) - this is to provide a strong and clear tone. If you cut too much material around the bell (or even into the bell area) the result will most likely sound thin and won't have enough volume to cut through. So just go for the bell size each cymbal 'wants'. Then _after_ the cutting you'll see what you have and how to combine them in a useable way.

I learned that basically all of those 25 bells I've done relate in pitch but some don't fit well together as their pitch relations are a bit off - they come close but not enough to make a 'family'. Also, you don't need to re-create diatonic scales with your bells. They also sound great with some bigger intervals than, say, thirds. I think Gavin's bells aren't forming a continuous diatonic scale.

I guess (never tried this) that if you find that some bells _almost_ make a great combination but some are too low in pitch, maybe reducing the diameter slightly (provided there's enough bow material left) would raise the pitch just enough/as needed. I'm lucky to have enough bells to simply select them as they turned out.

* * * * * *

BTW - Gavin:
Thank you so much! It was your solo on the Letterman show which made me aware of those cool chimes so I decided to make some myself. That 5-way bell holder is a cool idea, too! Thank you for the fun this journey has brought me!!
 
Gavin,

A question about endorsements. When you are endorsed by a company (ie- Zildjian/Sonor etc) do they pay you to "advertise" their products? Do you have to pay for the equipment or do they provide it for you? Also, do you get to keep whatever you use after a certain amount of time? I was just curious as to what it means to be "endorsed".

Thanks
 
Hi scottishhaggis

Regarding your last answer about the hats. Constantinoples are probably very great ones to play. Are you playing them only for the clinics and 05ric or have you completely switched to them? Are they any good for heavier music? It seems that this is a switch from 13 inch to 14 inch. What made you switch the size?


I don't think the Constantinoples could take the kind of volumes that I play with PT. I quite often change all my cymbals in size and type amongst the vast variety of exciting cymbals that Zildjian offer. Probably by the next PT tour they will have changed again. I've been enjoying larger cymbals in general - 21" and 22" rides 14" hi hats and so on.

Hi kalabuchnok

Sorry for talking again about your custom bell's ! I tryed to look if I can find the answer in the other pages, but with my english, it's too hard to read all the forum!!!
I must cut some broken crashes to do a litlle rack like you. I've got a 14" K thin crask, 15" A custom and a 16 A custom. My question is how to determinate witch one will be the little bell, the medium, etc. Big crash = big bell (6") and little crash = little bell (4") ? I don't want to do a mistake when I'm going to cut the cymbals... I imagine you tried different configuration before finding the sound you wanted.
Also, is it possible to find your DVD subtitled in French?


the Zildjian cymbals that have the medium bell 13" to 17" were the ones that I cut. The pitch was more determined by the thickness of the cymbal. I never made one that I didn't like. If the pitch was too close to one I had already made I just made it smaller and it went higher in pitch. Sorry but none of my DVDs have been subtitled into French. I wish they were!

Hi NerfLad

Gavin, when you played your solo on Letterman did you have a click in your ears or were you "free ballin'", so to speak? I noticed the band all came in exactly where they were supposed to without a count in, which they didn't do when Dennis Chambers soloed (and he didn't use ears).

there were a number of challenges to that Letterman performance. They asked me to play a drum solo but to also include the excellent house band. I thought long and hard about what I could do. I knew what I didn't want to do - a free form showing off solo demonstrating how fast I could go - which would almost guarantee that it would come out as a load of rubbish. I wanted it to be part of a tune - and I thought of "The Chicken" as it would be an easy tune to play and that the band would have no trouble with it. Plus it's a good tempo for soloing on.
We played the head of the tune and then in 16 bar sections I soloed and they played the riff over bar 16 so it made musical sense and kept the band involved.
For the performance to be just under 3 and a half minutes (which they were very strict about) I decided to do it with a click. That way I wouldn't start off too fast or too slow (and believe me with that amount of adrenalin I could have started off at twice that tempo) and it was a way that I could play whatever I wanted in terms of polyrhythms and odd groupings without losing the band. So that was the easiest - path of least resistance - I could think of. It meant that I could rehearse at home to that exact tempo and arrangement and be as prepared as I could.
I didn't plan every note but prepared certain ideas that would flow into each other from section to section.

Hi BabyBob

just wanna say Can't wait to see you when you come to KL in Malaysia for a Clinic! :D

Great - see you there.

Hi Alex Temperley

I am studying for my BA Hon in drums and part of the examination process is a study of an artist and the techniques/tools they employ. To accompany this a transcription showing their use. The artist I chose is you. Your drumming has really inspired me, particularly your ability to groove no matter how technical the parts you are playing.
I was hoping you might be able to point out specific concepts you employ, from either of your books, within your Porcupine Tree drumming and give examples.


Thanks for thinking of me. If you have my books Rhythmic Illusions, Rhythmic Perspectives and Rhythmic Designs you'll see how 'rhythmic manipulation' (through displacement and modulation) is probably the concept that I use the most. If you're familiar with my recorded work with PT and O5Ric you'll easily see how I put that into practise.

Hi Arky

Thank you so much! It was your solo on the Letterman show which made me aware of those cool chimes so I decided to make some myself. That 5-way bell holder is a cool idea, too! Thank you for the fun this journey has brought me!!

thanks for exploring the 'cymbal cutting' - and going much further than I went with it. I read your thread about it - great stuff - good work!!!

Hi euphoric_anomaly

A question about endorsements. When you are endorsed by a company (ie- Zildjian/Sonor etc) do they pay you to "advertise" their products? Do you have to pay for the equipment or do they provide it for you? Also, do you get to keep whatever you use after a certain amount of time? I was just curious as to what it means to be "endorsed".

I have never received money to play a certain product. Nearly all of the products that I endorse - I was playing and buying before hand. I would not want to endorse something that I didn't love - just because it was free. Most major companies run an endorser program - and they may offer a drummer a sliding scale of endorsement depending on your status as a player. That is to say how well known you are - NOT necessarily how GOOD you are.
My first endorsement was a kind of 'Silver endorsement' which meant that the company sold the equipment to me at a reduced price. I was delighted with that of course. They didn't put me in their adverts nor invite me to make drum clinics for them. I never thought that the endorsement would validate or elevate me as a player. I was a small gamble for them - they didn't lose any money but they invested in a young 'up and coming' player.
With the endorsements I have now - I get the equipment for free - but it doesn't belong to me - I can't sell it. It belongs to the companies (like a long term loan) - and they often upgrade my stuff with the latest versions as they come out. They give me worldwide support - so if I fly to a far off country they could supply me with the gear I need in that country. That is of GREAT value of course. I make drum clinic tours - which is usually initiated by one of the companies (and the others make a smaller financial contribution to help with the costs as well as supply their equipment to use on the clinics). I do get paid for those events - but the cost is normally split across all the companies and the shop or drum festival that is hosting it.
It's quite a complicated process in arranging, hosting and paying the expenses for a clinic. The endless comments on FaceBook "Hey Dude why don't you play a clinic in XXX my home town" ...are not really that useful. I don't get to choose or decide the exact locations of where the clinics are made.

cheers
Gavin
 
With the endorsements I have now - I get the equipment for free - but it doesn't belong to me - I can't sell it. It belongs to the companies (like a long term loan) - and they often upgrade my stuff with the latest versions as they come out.
So nowadays you don't actually own any of the instruments? Or are there situations where
you say "wow I absolutely love this drumset and want to really own it", and then you're
paying for it?
 
Hi Gavin, I was too excited while I heard the news about your Asia clinic in hk!!!
I appreciate that you spend time to answer alot of questions here, you did help me to get much better drum sound in recording, although I'm not a drummer, I'm your fan!
just one question, will you have a break for taking pics and autography in the clinic? I'm ready to take your records there. haha

KinChung
 
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