Gavin Harrison here!

thankyou so much for your response gavin! it means so much to me, as you are one of my drumming idols.

I totally agree with your response. I have alot of practice to do now and more importantly, a lot of listening to do. thanks again gavin.
 
Hi Gavin. I saw an interview with you recently on YouTube. You said over the years cymbals and snare drum sounds (high frequency) have caused your ears to ring, especially in quiet rooms. Does this affect your ability to sleep? How do you sleep with this issue?
Thanks,
Greg
 
Hi Duck Tape

Listening to myself playing to a porcupine tree song was eye opening because compared to you I've got this dirty funk sound that sounds inappropriate... it prompted me to want to "straighten up" my feel and play more on the beat (and I'm always trying to be more accurate). I think my swinginess is more about the relationship between the notes I play on the kick, hat and snare. Even when I play a single stroke roll on my hands or feet I can feel and hear a swing. You sound very straight and neat and accurate and it's just a wonderful feel. I don't want to be your clone but I would like to be able to sound more like you when I want to.

What happens when you play both of your hands together (in perfect unison) on a practise pad? Can you hear a flam? It might show you that your left hand is lagging behind your right in a way that would make single stroke 16ths sound a bit swingy. I can tell you that when I used to play that song in PT I would play it with 16ths on the hi hat with my right hand.

Hi Stevesmithfan

I saw an interview with you recently on YouTube. You said over the years cymbals and snare drum sounds (high frequency) have caused your ears to ring, especially in quiet rooms. Does this affect your ability to sleep? How do you sleep with this issue?


It is a constant problem. I can hear the high pitched ringing ALL the time. I try not to focus on it too much as it can drive you crazy. I usually sleep with the sound of rain coming from an app (called White Noise) on my iPhone. That tends to cover the ringing a bit and have me concentrate on a different sound.

cheers
Gavin
 
I tried the unison thing on the snare drum tonight, I haven't used a pad in a long time. I was often able to make them hit perfectly together (and "zoing" off in different directions). I have noticed you advocate practising this but I can't remember if it was on your dvd or a youtube interview, I will have to go back and watch. Do you think practising these unison singles will help me? If so what should I do? Just go through a few different tempos?
 
Gavin,

I wanted to know your opinion about the current trend of online drum schools. Do you think it's better for the student to have a one on one lesson with a private instructor in the same room?
 
Hi Duck Tape

I tried the unison thing on the snare drum tonight, I haven't used a pad in a long time. I was often able to make them hit perfectly together. Do you think practising these unison singles will help me? If so what should I do? Just go through a few different tempos?

This is an exercise that's only really possible on a practise pad to clearly understand what's going on. I have found it useful to feel 'calibrated' and feel sure that my hands (and in later exercises my feet) are landing where I'm intending them to land and are sounding 'in sync' with each other. That's when (on the drumset) things start to sound and feel good to me.

Hi Stevesmithfan

I wanted to know your opinion about the current trend of online drum schools. Do you think it's better for the student to have a one on one lesson with a private instructor in the same room?

I don't think I have a helpful opinion on this as I don't teach private lessons nor have I given any online lessons. When I was having lessons - these kind of options didn't exsist. I would say it's better to be in the same room - but for many reasons such as location, availablity and cost - it's not always possible to be in the same room.
Interestingly enough I have participated in a couple of drum festivals last year where I 'virtually' appeared on a screen at the event whilst I was at home in my studio. It was quite strange at first - but the interaction with the audience was kind of the same. Drummers asked me questions and I could answer and demonstrate on my drumset in real time. It was fun for me.

cheers
Gavin
 
Hi Gavin!

Can't say it often enough: I think it's really awesome that you take the time to answer all these questions.

Here's mine:
Are you planning on doing any clinics in 2016 in Germany (/Europe)?

I missed the ones in 2015 and I'm SO regretting it.


Thanks in advance for your answer!
 
Hi Gavin,

I have a question regarding working with a mixing engineer.

I know you've mixed your Cheating The Polygraph album & the 05Ric records and also you've been involved in the PT mixing process.

I'm doing a few studio sessions these days and most of the time, I'm really disappointed of how the mix turns out. I like when I hear my drumkit as a whole. Sometimes the different drums of the kit sound like they're all in different places and the balance is not representative to the volume you played each parts of the kit. Instead of placing the overheads and building the drum sound around them, they use them for the cymbals only and separate everything instead of blending all the parts together. I'm aware that mixing requires a lot of compromises but I know the drums could sound better - better to me at least - and I find it really frustrating/disapointing. I'm sure you know what I mean...

How do you manage to work with the mixing engineer when you almost or totally can't be involved in the mixing process? Do you send him a mixed demo or reference tracks?

How do you deal with mixes that bothers you or don't recreates properly the way you're hearing your drumset?

And finally, do you make any arrangements when you're hired by an artist to approve the drums before the final mixes get released?

Thanks a lot for your time and inspiration.

Will
 
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Hi french_cat

Are you planning on doing any clinics in 2016 in Germany (/Europe)?

No clinics planned at the moment. I will be teaching a day or two at UDE just outside London around the end of May /start of June. http://www.ultimatedrumexperience.co.uk/

Hi willregnier

I have a question regarding working with a mixing engineer.
I'm doing a few studio sessions these days and most of the time, I'm really disappointed of how the mix turns out.
How do you manage to work with the mixing engineer when you almost or totally can't be involved in the mixing process? Do you send him a mixed demo or reference tracks?

When I make recordings from my home studio I always send them a stereo mix of my drums - the way I like to hear them and how I felt I played them. 95% of the time they want all the individual tracks as well. If they've hired a 'mix engineer' that's usually the thing they most want to sink their teeth into and try to prove to the world that they can really mix drums.

How do you deal with mixes that bothers you or don't recreates properly the way you're hearing your drumset?

There comes a point (if you're just hired as a session drummer) that you have to let go and let them do what they want (it's not your album after all). I can't think of a single instance where the engineer made a better mix of my drums than I did (according to me) and I'm usually pretty disappointed when I hear the final thing. Sometimes they have used my stereo mix - but killed the drum sound in the mastering process.

do you make any arrangements when you're hired by an artist to approve the drums before the final mixes get released?

I have done that in the past (but - like journalists who promise similar things about sending you interviews before they're released) they quite often forget (or don't want to). Next thing you know it's been released and it's too late to do anything about it. You either have to take a relaxed attitude to it and let whatever happens not bother you - or you just don't do these things. There's not much in the middle.

Cheers
Gavin
 
Hey Gavin, hope all is well.

I know you're a big Art Farmer fan and I checked out Crawl Space and really enjoyed it. What other Art Farmer albums do you recommend? What are some of your other favourite Gadd albums?

Also, are you a Steely Dan fan?

I also wanted to tell you that the Cheating the Polygraph surround mix is fantastic. Awesome stuff.

Cheers,

Quinn
 
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Hi Lightbulb_Sun

I know you're a big Art Farmer fan and I checked out Crawl Space and really enjoyed it. What other Art Farmer albums do you recommend? What are some of your other favourite Gadd albums?

Two of my favourite Steve Gadd recordings are "Crawl Space" and "Big Blues" (Art Farmer and Jim Hall). Mad Hatter (Chick Corea) is amazing too.

Also, are you a Steely Dan fan?


Absolutely !

cheers
Gavin
 
Hi Lightbulb_Sun

I know you're a big Art Farmer fan and I checked out Crawl Space and really enjoyed it. What other Art Farmer albums do you recommend? What are some of your other favourite Gadd albums?

Two of my favourite Steve Gadd recordings are "Crawl Space" and "Big Blues" (Art Farmer and Jim Hall). Mad Hatter (Chick Corea) is amazing too.

Also, are you a Steely Dan fan?


Absolutely !

cheers
Gavin

Hey Gavin!

Thanks a ton, I'll check those two out as soon as possible.

Awesome! My father introduced me to Steely Dan pretty recently and I've gotten really into them. Steve Gadd's fills in the Aja title track are phenomenal. I haven't gotten around to checking out the album Gaucho yet, but I've heard it's great and I know Gadd is in it for a track or two.

Although not Gadd, I really love the drumming on tracks like Negative Girl, The Fez and Pretzel Logic. Really tasteful stuff.

If you don't mind me asking, what's your favourite Steely Dan album?

Lastly, I felt that I needed to seriously practice my buzz rolls (not my strong-suit). How do you practice your buzzes? Did you ever use a certain exercise to help you?

Cheers,

Quinn
 
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I often check on this forum, so informative and interesting to read the forum posts and your answers, Mr. Harrison.

Just curious if there are any plans for a Porcupine Tree reunion in the near future? Or do we have to consider that band broken up?

Have enjoyed your records with O5ric and Cheating the Polygraph of course, haven't had a chance to see King Crimson live, but I really long for some new PT-music. Bands "win" over solo artists (ok, with a few exceptions), musicians always seem to come more into their own in a band as well instead of being a hired session player (ok, with a few exceptions). In fact that's what I think is missing for a guy like Steve Gadd (although you hardly argue with his musical achievements). Jeff Porcaro is problably more famous for his session work, but sincerely his best and most interesting stuff is with Toto, that's where he really was shining as a drummer plus he got a chance to co-arrange and write as well.

And talking about a perfect session-player album, have you heard a Richard Marx song called "Your World" from 1991 with Terry Bozzio on drums? (Marx's "Rush Street" album, which that song was recorded for, is "my" sort of Aja-album).

Crossing my sticks for some new PT music.

Basil
 
Hi Lightbulb_Sun

If you don't mind me asking, what's your favourite Steely Dan album?


The Gaucho !

Lastly, I felt that I needed to seriously practice my buzz rolls (not my strong-suit). How do you practice your buzzes? Did you ever use a certain exercise to help you?


I don't really have any exercises that I think of that would help playing buzz rolls. I think it was something I could always do. I suppose it is related to hold you hold the sticks and squeeze them when you 'buzz' roll.

Hi Basil

Just curious if there are any plans for a Porcupine Tree reunion in the near future? Or do we have to consider that band broken up?

No the band has not broken up.

Have enjoyed your records with O5ric and Cheating the Polygraph of course, haven't had a chance to see King Crimson live, but I really long for some new PT-music. Bands "win" over solo artists (ok, with a few exceptions), musicians always seem to come more into their own in a band as well instead of being a hired session player (ok, with a few exceptions). In fact that's what I think is missing for a guy like Steve Gadd (although you hardly argue with his musical achievements). Jeff Porcaro is problably more famous for his session work, but sincerely his best and most interesting stuff is with Toto, that's where he really was shining as a drummer plus he got a chance to co-arrange and write as well.


I think Steve Gadd has done ok anyway :). In my opinion he always plays like a band member in that he contributes to any musical situation. I don't get the feeling he's just going through the motions and just taking the session money.

And talking about a perfect session-player album, have you heard a Richard Marx song called "Your World" from 1991 with Terry Bozzio on drums? (Marx's "Rush Street" album, which that song was recorded for, is "my" sort of Aja-album).

sorry - I've never heard it. One to check out though.

cheers
Gavin
 
Hi Gavin:

I am really enjoying Cheating the Polygraph. Great outing! I, too, am a fan of Patrick Williams' Threshold album and your release has the same feel with stellar musicianship and high energy.

Who else is working today mining the same vein? I love this style. Can you recommend others?

Best regards,
Croc
 
Hey Gavin!

Thanks for the response.

Is there a chance of any King Crimson shows being recorded for a live DVD or Blu-Ray?

Also, who's idea was it to make the font on Cheating the Polygraph the same font as the one on the PT album, Recordings? I really like the look.

Ever since my last post I have put a lot more time into my buzzes. They're not great, but I have noticed an improvement. It's a shame there's no real exercise. I approach them like doubles except I'm "pressing" them into the snare. It feels like I'm putting way too much energy into each buzz. Should it demand more energy and "work" than a normal double stroke roll?

Thanks for your time,

Quinn
 
Hi Croc

I am really enjoying Cheating the Polygraph. Great outing! I, too, am a fan of Patrick Williams' Threshold album and your release has the same feel with stellar musicianship and high energy. Who else is working today mining the same vein? I love this style. Can you recommend others?

Thanks. I don't really know who is working in the same vein. Laurence Cottle's own big band and his arrangements of Jaco Pastorius tunes are amazing (some of which you can find on YouTube). I've been enjoying Snarky Puppy - although it's not really focused on the brass arrangements so much as Laurence's work.

Hi Lightbulb_Sun

Is there a chance of any King Crimson shows being recorded for a live DVD or Blu-Ray?

All of the shows last year were multi-tracked recorded and filmed - so I suspect something very good will come out.

Also, who's idea was it to make the font on Cheating the Polygraph the same font as the one on the PT album, Recordings? I really like the look.

The record company suggested it.

Ever since my last post I have put a lot more time into my buzzes. They're not great, but I have noticed an improvement. It's a shame there's no real exercise. I approach them like doubles except I'm "pressing" them into the snare. It feels like I'm putting way too much energy into each buzz. Should it demand more energy and "work" than a normal double stroke roll?

I think they are actually easier to play than a double stroke roll. Of course sometimes they are referred to as "press rolls" and I think if you're only using your thumb and index finger and pressing the notes into the drum head (usually easier to do near the edge of the drum) things should sound nice and blurred.

cheers
Gavin
 
Hello from Perth Australia, Gavin.

I've heard your influences growing up and developing have come from the likes of Steve Gadd, Jeff Porcaro and many others. My question is, who are a couple of drummers (well known or not) you've been inspired by, or taken influence from in the past year or so?

Cheers mate,
Marcus.
 
Thanks for your response, Mr. Harrison.
Having just read Mr. Wilson's interview in Prog-magazine, it really looks promising for some new PT music. He also pointed at the pros and cons of writing and arranging songs with higly skilled bandmembers who have their own opinions (which is exactly what I think add quality and interesting dynamics to a lot of music made by bands, though dividing royalties and publishing rights plus serious disagreements in some cases can be a drag of course).
Ok, Steve Gadd was maybe a bad example, he-he.

There is some incredible drumming on "Your World" by Terry Bozzio on Rush Street by Richard Marx (and it reminds me a little bit of you especially with the small splash/mini cymbal spicing he sometimes executes....). And what a list of drummers on that record; Bozzio, Mike Baird, Jeff P, Jonathan Moffett and lo and behold, Tommy Lee. Are there any real drummers recorded at all in today's commercial popmusic?

Basil
 
Hey Gavin, hope all is well.

That's great news. Also, it's cool to know that you dig Snarky Puppy.. Larnell and Sput are great drummers.

I've been having a blast playing along to the bass line in 21/4 from Steven's "No Twilight Within the Courts of the Sun", a track that you played on. It's a great song to learn to "break" up intimidating time signatures. It's nice to not count it, but to just "feel" the 1. Regarding the fill at 1:40.. What sticking did you use to choke the hihat? Here's a link for reference. https://www.youtube.com/watch?v=fXxZkNjKsic It's an incredibly tasty lick. :)

Lastly, I know you guys used a click on stage so that everything was perfectly synced. Why do you still count in the band for a song like Anesthetize or Sound of Muzak if the click is "counting" everybody in? Also, I think you've mentioned that you have recorded yourself "talking" in your ear on top of your click track for certain songs. I'm guessing this was mostly used for tracks like Dark Matter, where there's a lengthy intro that's hard to come in on? It's really quite ingenious.

Cheers,

Quinn

Oh, and Basil, although not exactly "pop", Mark Guiliana is a fantastic drummer who just played on Mr. Bowie's Blackstar.
 
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