Gavin Harrison here! - Page 95

Fox622003 · #**3761** 10-28-2009, 11:41 PM

Hey Gavin, in Open Car (Live, from the Arriving Somewhere DVD), I know there's a very nice transcription here, but I wanted to know about the hi hat, do you use the drop clutch only for that middle double bass section and do the rest of the open hi hat parts regulating how open it is with you foot?
Also, I was thinking of getting a pair of hi hats like your Zildjian K 13", would you say they are a versatile pair? Why did you pick those instead of the 14"?
Thanks!

Fox.

K.Howden · #**3762** 10-29-2009, 12:50 AM

Hi Gavin, how are you?

Just wondering whether you've had any experience with the Avedis 19" Rock Crash? (or any Crashes from that Range) and whether you found it a hard Cymbal to manage?

The only reason I ask is that last Year I was scanning Ebay and came across this Cymbal for £70 so I snapped it up. I've used it on and off during Rehersals but I can ever seem to get it to Sound like anything in particular and by this I mean; it doesn't quite sound like a Crash...but at the same time it doesn't really sound like a Ride either, it has a really wierd and hard to define in-between type Sound that isn't really cutting the Mustard.

In any case, I hope you're well and best of luck for the rest of the Incident Tour.

Kev

Gavin Harrison · #**3763** 10-29-2009, 05:07 PM

Hi jivadayadasa

Gavin, without naming names, do you do this at all with drummer friends of yours? I know you're ultra busy but, when you are not on tour, is it at all helpful/desirable to you to hang out and go over things with other drummers?

Absolutely - I talk to a lot of drummer friends of mine about all kinds of issues.

Hi jake_larson

What was the one album that made you want to drum?

There wasn't one really. I heard a lot of my Dad's record collection when I was really young. I remember being very excited by a Pat Williams record called "Threshold" where the drummer was John Guerin. It was kind of funk mixed with big band. I still LOVE that record.

Hi Fox622003

Hey Gavin, in Open Car (Live, from the Arriving Somewhere DVD), I know there's a very nice transcription here, but I wanted to know about the hi hat, do you use the drop clutch only for that middle double bass section and do the rest of the open hi hat parts regulating how open it is with you foot?

Yes exactly.

Also, I was thinking of getting a pair of hi hats like your Zildjian K 13", would you say they are a versatile pair? Why did you pick those instead of the 14"?

I think they are very versatile and use them on pretty much everything. I just prefer the 13" size - I find them a bit easier to handle.

Hi K.Howden

Just wondering whether you've had any experience with the Avedis 19" Rock Crash? (or any Crashes from that Range) and whether you found it a hard Cymbal to manage?

I don't think I've ever had one. I'm using a prototype 19" K Dark Custom Crash at the moment and really enjoying it. I know what you mean about some cymbals being in between a "ride" and a "crash" - and I guess that's the problem with buying cymbals from ebay before you get chance to try them out.

cheers
Gavin

recordinghacks · #**3764** 10-29-2009, 08:15 PM

Hello Gavin and everyone,

I finally published the Paul Northfield interview I mentioned here a few months ago.

We talked a lot about tracking drums for RUSH and Dream Theater, and covered the drum tracking for In Absentia at Avatar somewhat too.

Paul is a great guy. The interview was a lot of fun for me. Hopefully it will be useful for all of you as well.

http://recordinghacks.com/2009/10/28/paul-northfield/

Gavin Harrison · #**3765** 10-29-2009, 10:25 PM

Hi recordinghacks,

very nice article indeed. Paul Northfield is a great engineer and it's interesting to read his ideas about drum sounds. Just to correct one tiny thing though. Steve Wilson has never recorded my drums at my house. The engineering and sound design has always been my effort - with experience picked from working with guys like Paul and having played in a lot of studios worldwide with a lot of interesting engineers. Every engineer does it slightly different and that's what makes experimenting so much fun. Sometimes I go back to my studio and try to emulate something that I liked in another studio. With the most recent sessions I did at AIR studios (for PT's The Incident) with ace engineer Steve Orchard - I came back home and bought an extra couple of mics for my studio and I think it really helped.

cheers
Gavin

recordinghacks · #**3766** 10-29-2009, 10:57 PM

Gavin, thanks for the feedback. Now that you mention it, I realized while reading an interview with Steven Wilson in the new Tape Op that you were doing all your own tracking at home. I'll make a note in the Northfield interview.

I'm interested to hear more about your new mics and the way you use them, and I'm sure my readers would too. I know you're on tour, but if you have time for a couple email exchanges about it, contact me via recordinghacks.com.

Cheers!

euphoric_anomaly · #**3767** 10-30-2009, 12:30 AM

Gavin,

I'm sure you get incredibly bored answering the same questions about odd time, but I was wondering if you could embellish upon your statement: Playing odd time is as easy as playing in groups of 2 and 3. What exactly does that mean? Take 9/8's for example, would that be a group of 3 (3/8th's)? Just a little confused by what you meant.

Thanks

Eric

Markon · #**3768** 10-30-2009, 12:31 PM

Hi Gavin,
tell me why Porcupine Tree played only one show in Poland this year?
We want more, really. Most people have been waiting for PT here in Warsaw and Bydgoszcz. When can we expect you in Poland again?

Luke Bonham · #**3769** 10-30-2009, 07:11 PM

Hi Gavin,
thank you for the last Porcupine Tree album, I'm really enjoying it. I especially like your drumming in "Drawing the line" , which is quite linear and easy, but very good.

Those parts at the beginning of each refrain are played with taste and mastery, you gave a great groove just with your feeling, and that's amazing.

How did you think to the drums for this track? Did you cowork in its creation or start from a Steven's idea?

Fox622003 · #**3770** 10-30-2009, 08:17 PM

Quote:

Originally Posted by euphoric_anomaly

I'm sure you get incredibly bored answering the same questions about odd time, but I was wondering if you could embellish upon your statement: Playing odd time is as easy as playing in groups of 2 and 3. What exactly does that mean? Take 9/8's for example, would that be a group of 3 (3/8th's)? Just a little confused by what you meant.

I believe he meant it is as easy as just grooving in 4/4 (playing groups of 2 and 3 in 4/4), literally that. If you think about it, playing 9/8 to a click track in eighths is pretty much the same as playing 4/4, there's no big problem there. It's more about perhaps focusing on the separate parts, even the separate 8ths instead of the whole thing, as you'd normally do in 4/4. More clearly, if you play 4/4 focusing on the eighths, there's not a huge difference from that to playing 9/8 or 7/8. It's even quite simple to override in quarter notes in that setting, since you're playing them every 2 eighths.
I am sure you want Gavin's opinion on this as it was his statement, all the same, that's what I picked up from it, and I hope it helps.

Fox.

Gavin Harrison · #**3771** 10-30-2009, 08:56 PM

Hi euphoric_anomaly

I'm sure you get incredibly bored answering the same questions about odd time, but I was wondering if you could embellish upon your statement: Playing odd time is as easy as playing in groups of 2 and 3. What exactly does that mean? Take 9/8's for example, would that be a group of 3 (3/8th's)? Just a little confused by what you meant.

for instance a bar of 5/8 could be thought of as (2/8 + 3/8) or (3/8 + 2/8). A bar of 7/8 could be easily subdivided into (2/8 + 2/8 + 3/8) or variations of that. That way you're never counting groups of notes other than 2 or 3. Likewise a bar of 9/8 could be (3/8 + 3/8 + 3/8) or (2/8 + 2/8 + 2/8 + 3/8) or a few other variations of that.

Hi Markon

tell me why Porcupine Tree played only one show in Poland this year?
We want more, really. Most people have been waiting for PT here in Warsaw and Bydgoszcz. When can we expect you in Poland again?

I don't know the answers to your questions. The decisions were not mine.

Hi Luke Bonham

thank you for the last Porcupine Tree album, I'm really enjoying it. I especially like your drumming in "Drawing the line" , which is quite linear and easy, but very good.
How did you think to the drums for this track? Did you cowork in its creation or start from a Steven's idea?

It may sound easy but actually it's quite hard to play. I was presented that track with a straight 4/4 beat going through it - so I took it off and started from scratch experimenting with different drum ideas.

cheers
Gavin

Luke Bonham · #**3772** 10-30-2009, 09:21 PM

Quote:

Originally Posted by Gavin Harrison

It may sound easy but actually it's quite hard to play.

Yeah of course, noticing how much work is behind.

Sorry, I hadn't been clear: I wanted to mean that it's easy to feel.

Liquid_Drummer · #**3773** 10-30-2009, 09:46 PM

Gavin,

Loving the new Cd. It has been a long time since I have sat still long enough to listen to a 55 minute song. I am finding no problem doing that because once the cd starts everyone in my house knows to leave me alone for a while !!

I want to ask you a question about drumming and muscle cramps. I have been playing for 25 years now and just joined a cover band playing very hard rock which requires me to beat the crap out of the drums due to guitarist with the volume knobs on their amps super glued to 11. I have given up on getting them to turn down (you know how that is) because they dont want to sacrifice their sound... Arrrghhhh...

I have been having charlie horses in my forearms and legs on occasion and only when I play. I had to play through half a song last weekend with one arm. Thankfully, it was the last song of the set and all 4/4 hi-hit, snare kick and no real tom work or fills (ac/cd). I drink tons of water, gatorade, eat bananas, sushi etc. This is concerning me. In my Pink floyd tribute this is no issue because I do not have to play no where near the same level of intensity. Have you ever had this happen to you ? Do you know what it could be ?

I am 37 in good health, slender, eat healthy diet of mostly asian foods, lots of sushi and rice. I am at a loss and have a slight fear of it happening in the middle of a set when I wont have a break to bail me out !

Chris Edwards · #**3774** 10-30-2009, 10:07 PM

Quote:

Originally Posted by Liquid_Drummer

joined a cover band playing very hard rock which requires me to beat the crap out of the drums due to guitarist with the volume knobs on their amps super glued to 11. I have given up on getting them to turn down (you know how that is) because they dont want to sacrifice their sound...

Hi,

It's a tricky situation. However, if the git-wrists are any good, they'll understand the need to play at sane volumes.

In a gig, hopefully your drums can be amplified to an appropriate level, so you don't have to try and play ridiculously loud all the time.

And watch those ears.

Liquid_Drummer · #**3775** 10-30-2009, 11:37 PM

Quote:

Originally Posted by Chris Edwards

Hi,

It's a tricky situation. However, if the git-wrists are any good, they'll understand the need to play at sane volumes.

In a gig, hopefully your drums can be amplified to an appropriate level, so you don't have to try and play ridiculously loud all the time.

And watch those ears.

I wear attenuating ear plugs that lower the sound levels without blocking the highs. I just dont understand why I am getting muscle spasms. Bad ones too. I end up playing hard because I believe some songs demand it. Its kind of automatic really. You get in to what your doing and just dont think about how hard you are hitting. When I do become aware and lay back it feels as if I am hurting the intensity of the song. Some songs you just need to hit them hard and I do know how to hit hard without the shock getting to me. A little moeller practice helped me loosen my grip up a lot which used to be way too tight and I rim shot the snare for impact. During a "tribal" section of Drawing The Line it sounds as if Gavin is beating those Sonars to death.

the-gablushe · #**3776** 10-31-2009, 10:32 AM

Hey Gavin

We saw you yesterday in Nuremberg. It was our first PT-concert and it was mindblowing!
Although I must admit that we originally came to see you -- live and in action, Gavin.
We were front row. In one line from your position across your 20 inch K. I wore a black and white striped pullover. You gave a brilliant performance, man. All the chops were right there. Astounding overriding. WOW ... period.

Overall you looked a little fatigued, Gavin. We hope you are fine, or get better soon, respectively.

We're looking forward to catching you in Frankfurt next year. Can't wait :)

Cheers
Your fans
Andreas & Tabea

P.S. One thing...It seemed someone took a bite out of your big left-hand China ... better go check! ...Just kiddin' ;)

Hurlza · #**3777** 10-31-2009, 12:43 PM

G'day gavin, just quickly do you know what filter your drums went through in the songs sentimental and that flamenco section in arriving somewhere, but not here. my band has just written a song and were nearly recording and i feel it fits one of the parts perfectly, any help would be great.

Cheers from australia

SantiBanks · #**3778** 11-01-2009, 12:15 AM

Quote:

Originally Posted by Hurlza

G'day gavin, just quickly do you know what filter your drums went through in the songs sentimental and that flamenco section in arriving somewhere, but not here. my band has just written a song and were nearly recording and i feel it fits one of the parts perfectly, any help would be great.

Cheers from australia

It's an equalizer (31 band graphical equalizer or a good multiband parametric will do the trick). The sound is created by using extreme settings. Just experiment. Set everything to the lowest setting and then just slide some sliders or knobs to the "0" level. Do this over a loop to hear the effect. If you just boost some random ones you can get interesting results.

The Incident has the same technique on Bonnie the (or is it tha?) cat.

A simple filter (like a lo or hi pass) can't create this effect as they cut off frequencies below (or above) a certain treshold. So its a combination of filters (which makes it an equalizer)

SantiBanks · #**3779** 11-01-2009, 12:25 AM

Quote:

Originally Posted by Gavin Harrison

I came back home and bought an extra couple of mics for my studio and I think it really helped.

cheers
Gavin

Hi Gavin,

I'm curious which ones you bought and what you use them for? And one question about some of the photos on the porcupine tree on the road weblog. I noticed the mixing desk (yamaha?)between the two risers (I know its there for the last few tours). What is it for? Is that the monitor desk and if so, don't you guys use a monitor engineer anymore?

Gavin Harrison · #**3780** 11-01-2009, 01:07 AM

Hi Liquid_Drummer

I have been having charlie horses in my forearms and legs on occasion and only when I play. I had to play through half a song last weekend with one arm. Thankfully, it was the last song of the set and all 4/4 hi-hit, snare kick and no real tom work or fills (ac/cd). I drink tons of water, gatorade, eat bananas, sushi etc. This is concerning me. In my Pink floyd tribute this is no issue because I do not have to play no where near the same level of intensity. Have you ever had this happen to you ? Do you know what it could be ?

Yes I'm very familiar with this scenario - it's just trying to play too loud to match the levels around you. I quite often play the first song of the show a bit too hard and then feel like I have to keep that level of intensity up all night. You really have to take control of the situation and get your monitoring right.

Hi Hurlza

G'day gavin, just quickly do you know what filter your drums went through in the songs sentimental and that flamenco section in arriving somewhere, but not here. my band has just written a song and were nearly recording and i feel it fits one of the parts perfectly, any help would be great.

SantiBanks is correct - just get a graphic eq and mess around with the sliders. I think it's a kind of inverted "U" shape so that all the highs and lows are gone and the just mids are accentuated.

Hi SantiBanks

I'm curious which ones you bought and what you use them for? And one question about some of the photos on the porcupine tree on the road weblog. I noticed the mixing desk (yamaha?)between the two risers (I know its there for the last few tours). What is it for? Is that the monitor desk and if so, don't you guys use a monitor engineer anymore?

The mics I bought recently are both for the bass drum. One is a Sennheiser MKH 40 which does a very similar job to a Neumann U47 when it's very close to the front head. The other is a DPA mic but I don't know the name of it as I'm away from my studio right now.

Yes the Yamaha in the photos is our monitor desk. O2R96 - and we never use a monitor engineer. Sometimes my tech can tweak things for me - but it's very rare that I ever change anything.

cheers
Gavin

ChrisGau · #**3781** 11-01-2009, 01:17 AM

Hi Gavin,

I also attended yesterdays's PT concert in Nuremberg. It was the first time that I saw PT live since I discovered the band probably a year ago. First of all: thanks to you and the band for 2 hours of great, mindblowing, intense an haunting music. As with all great live bands, I enjoyed the live music even more than listening to the CD's. I usually visit between 3-5 concerts per year but I must say that it´s a very long time ago and that music grabbed me the way you did yesterday. I find it difficult to list all the reasons why the whole experience was so intense but upon the things I recognized was great dynmic range and perfect band timing. Even my wife - who is not a PT fan actually - got hit and grooved along the whole evening.

Even though - I agree with "the-gablushe" - you looked tired and exhausted, which is of course difficult to tell from a distance of 10-15mtrs, your drumming was awe-inspiring. I found it impressive how relaxed you seemed to stay in the middle of complex drumming arrangements. Unfortunately you were pretty good hidden behind your set. By the way... nice finish but I prefer your golden madrone set - however the metallic look fit better to the stage design.

The first half of the show was really impressive. I am sure it´s quite challenging to play a 50mins song, fully synchronized with video material and involving multiple sound and instrument changes. I think the audience liked the new material pretty much and so did I. However, the three moments I enjoyed most were in the second part:

Anesthetize: the rhythmic design of this song is live even more impressive than on CD. I especially love the thundering section before the last chorus in the middle part (in the CD Version it starts at about 11:17). I think you once mentioned here that it sounds more difficult than it is (for you) but I can tell you... this thunderstorm rolled through my whole body. Great fun.
Sound of Muzak: This is my current all-time favourite - the best song I know of. It´s a great piece of music and to me it seemed that everybody - audience and the band - had fun with it yesterday. Read an interview Steve in which he mentioned that he began to fully appreciate "In Absentia" only recently. Very good I thought because it was my first PT album and I still like it most.
Trains: being on the audience side, clapping this Flamenco like guitar interlude is great fun and I thought that the we pretty much got it without loosing the tempo ;-). Again... the dynamics of this song is something that I like very much. Lot of interaction between band and audience... nice.

For erverybody who is interested: the setlist.

Funny stuff: the roady that was hoovering the stage before the main act. I guess Steve must have made some bad experiences. Did he every step into something that hurt him during the show?

Finally I have a few questions if you don't mind:

What was the laptop on your left side for?
I am not sure but I think I saw some new sticks you used - they seemes to be partially colored red. Signature Sticks?
Is there a click for the whole first half of the show to sync with the video?
How do you select the old material for the second half of the show? Is it the band's mood at the particular evening?
You guys are nearly playing every evening. My imagination tells me that this must be very exhausting. Is that something pro's like you are used to and that´s why it´s not that bad? How do you relate to that type of touring.
The appreciation that PT - but also yourself - enjoy... is that something that compensates you for the touring stress?

Many thanks. I wish you a nice and successful remaining tour.

SantiBanks · #**3782** 11-01-2009, 11:23 AM

Quote:

Originally Posted by Gavin Harrison

The mics I bought recently are both for the bass drum. One is a Sennheiser MKH 40 which does a very similar job to a Neumann U47 when it's very close to the front head. The other is a DPA mic but I don't know the name of it as I'm away from my studio right now.

Yes the Yamaha in the photos is our monitor desk. O2R96 - and we never use a monitor engineer. Sometimes my tech can tweak things for me - but it's very rare that I ever change anything.

cheers
Gavin

Hi Gavin,
That Sennheiser looks very nice and promising! I was listening to Nil Recurring last night with my headphones (sony mdr-v6, I love those!) and I was amazed by the sound of your kick. Its very deep and low but also very punchy and controlled. I never heard something like that before to be honest. I really dig it. Did you use the neumann and the audix for that?

As the monitordesk is concerned. Why no monitor engineer in the first place? Is it because you guys want to have everything in control (like you once told me that clicktracks should be in your own control rather then with a monitor engineer)?
And in case you know, how is the desk feeded? Are all instruments first send to the FOH and do they give submixes back to the monitor mixer or is everything split at the side of the stage and send to the FOH and the monitor desk?

Thanks for your time. I appreciate it a lot. It's crazy to know you are on tour and see you post at 2 AM in the morning, answering all our questions.

Quote:

Originally Posted by ChrisGau

Funny stuff: the roady that was hoovering the stage before the main act. I guess Steve must have made some bad experiences. Did he every step into something that hurt him during the show?

Was this the roady in question perhaps?

I found this quote from Steven about the subject:

Quote:

Do you ever worry about stepping on something or have something falling on them?
All the time… and I have. I mean, I’ve stepped on nails, screws, drawing pins, stubbed my toe, I’ve come off stage with blood just coming out… I mean, I’ve had it all mate, but to be honest, nothing’s going to stop me.

from this interview: http://www.rockeyez.com/interviews/i...pine-tree.html

asafgo · #**3783** 11-01-2009, 02:24 PM

Hi Gavin

I started drumming at age 34 ,
I find your approach that my drumming can be interesting without being a technical giant very encouraging.
I try to find intereting stuff to apply into my playing since my tecnique still needs alot of work...

about foot techniqe,do you think i should let it evolve with my playing or practice it individualy?

thanks,
i am a big fan.

ChrisGau · #**3784** 11-01-2009, 03:48 PM

Quote:

Originally Posted by SantiBanks

Was this the roady in question perhaps? [...]

Nope... I think it wasn't Colin ;-) ... but the picture is great.

Quote:

Originally Posted by SantiBanks

I found this quote from Steven about the subject:
from this interview: http://www.rockeyez.com/interviews/i...pine-tree.html

Thanks for the link. That´s what I thought but I really have not been seeing anyone hoovering the stage before the main act so far. You can bet what my wife told when she saw that. Something like... I didn´t know that you musicians are so good at vacuum cleaning... you can give it it try when we are home :-).

Gavin Harrison · #**3785** 11-01-2009, 09:37 PM

Hi ChrisGau

Even though - I agree with "the-gablushe" - you looked tired and exhausted, which is of course difficult to tell from a distance of 10-15mtrs, your drumming was awe-inspiring.

I think I am tired and exhausted. It's what happens when you tour and get a cold + jet lag + no sleep + a lot of bad food and have to play for two hours night after night.

What was the laptop on your left side for?

That runs the click and the films

I am not sure but I think I saw some new sticks you used - they seemes to be partially colored red. Signature Sticks?

Vic Firth "Vic Grip"

Is there a click for the whole first half of the show to sync with the video?

Yes

How do you select the old material for the second half of the show? Is it the band's mood at the particular evening?

we have a pool of songs ready for performance and we select which ones we want to play based on how we feel and how close some of the shows are to each other.

Hi SantiBanks

That Sennheiser looks very nice and promising! I was listening to Nil Recurring last night with my headphones (sony mdr-v6, I love those!) and I was amazed by the sound of your kick. Its very deep and low but also very punchy and controlled. I never heard something like that before to be honest. I really dig it. Did you use the neumann and the audix for that?

No that was the Audix and the Shure SM91

As the monitordesk is concerned. Why no monitor engineer in the first place? Is it because you guys want to have everything in control (like you once told me that clicktracks should be in your own control rather then with a monitor engineer)?

we don't need one. We're quite happy with a static mix. I have individual control of the click and a couple of other things on my personal mixer that is right next to my drums.

And in case you know, how is the desk feeded? Are all instruments first send to the FOH and do they give submixes back to the monitor mixer or is everything split at the side of the stage and send to the FOH and the monitor desk?

All the channels are split on the stage so they go into the monitor desk and FOH.

Hi asafgo

about foot techniqe,do you think i should let it evolve with my playing or practice it individualy?

Both !!!!

cheers
Gavin

donv · #**3786** 11-01-2009, 10:19 PM

Gavin,

First, thanks for the great and imspiring drumming. You're fairly recent to me and I can't get enough.

This may have been asked already, but I noticed you play your splashes upside down. I'm curious about your reason for doing this is?

shortsman · #**3787** 11-02-2009, 02:06 AM

Hi Gavin,
I've been wondering, have you ever given up an exercise you thought about and said ''I can't do this thing''? If yes then what was it?

Also how do you think of polyrhythms? Do you learn how to sing a phrase for example 3 over 4 or a more difficult 7 over 5 or do you count? Also what kind of polyrhythmic patterns do you prefer? For example V.Donati prefers playing different time signatures between his left and right side, T.Lang prefers the foot ostinatos. What do you prefer?

Phil Brodermann · #**3788** 11-02-2009, 03:14 AM

Hi Gavin, Thanks for the usefull feedback to my questions :) I was wondering what snare drum you are using on the track 'Futile' on one of your DVD's, I'm not sure which one. Looks like a 14", with a natural wood finish :) Cheers

ItalianRicky · #**3789** 11-02-2009, 09:57 AM

Hi Gavin, how're you?
Next saturday you'll play in Padova, my city!i'm very waiting for this gig, i'm sure that you guys will do an amazing show as ever!
I wanna ask you if there's the possibility to met you for some minutes during the day.I have something to give you for thank you for all the time that you spend to answer to my questions.Nothing special, just a little thing for you and the rest of the band.
Can you help me please?
thanks a lot.
Cheers from Italy!

Chris Edwards · #**3790** 11-02-2009, 05:51 PM

Quote:

Originally Posted by SantiBanks

Splendid - smiling even when performing household chores...

Phil Brodermann · #**3791** 11-02-2009, 09:42 PM

Hi Gavin, just a quick question as your online / day off. Hows the tour going for you?, I saw you at the London show, nicely done, how was last night? Also would you pick a 14"x14" and 16"x16" over a 14"x12" and 16"x14" and why? thanks for your time :) Phil

Gavin Harrison · #**3792** 11-02-2009, 09:46 PM

Hi donv

This may have been asked already, but I noticed you play your splashes upside down. I'm curious about your reason for doing this is?

They are not splashes - they are custom cymbals that I call "Crash Bells". They don't really 'splash'.

Hi shortsman

I've been wondering, have you ever given up an exercise you thought about and said ''I can't do this thing''? If yes then what was it?

I've never thought "I can't do this thing" - I might think "I can't do this thing right now" - but if it's humanly possible to play and I really want to play it - then I just need to work on it until I can.

Also how do you think of polyrhythms? Do you learn how to sing a phrase for example 3 over 4 or a more difficult 7 over 5 or do you count? Also what kind of polyrhythmic patterns do you prefer? For example V.Donati prefers playing different time signatures between his left and right side, T.Lang prefers the foot ostinatos. What do you prefer?

You need to see my "Rhythmic Horizons" DVD there's a whole section on there about polyrhythms. I don't really count - I just sing groups of 2 & 3 until I reach the number required. There's an example of it a few posts back. Regarding "what kind of polyrhythmic patterns do you prefer?" I like ones that have some meaning to the music I'm trying to play or compose.

Hi Phil Brodermann

I was wondering what snare drum you are using on the track 'Futile' on one of your DVD's, I'm not sure which one. Looks like a 14", with a natural wood finish

It's a Sonor 14x6 "Cottonwood" maple drum.

Hi ItalianRicky

I wanna ask you if there's the possibility to met you for some minutes during the day.I have something to give you for thank you for all the time that you spend to answer to my questions.Nothing special, just a little thing for you and the rest of the band.
Can you help me please?

Unfortunately I can't promise to meet you as I have no idea what I will be doing that day. The best chance is to try and catch any of the band after the show.

cheers
Gavin

Renard · #**3793** 11-03-2009, 04:11 PM

Hi Gavin!
Thanks for the show in Hungary! It was incredibly to see you! The whole band was fantastic, it was the greatest show I've ever seen!

I think in the beginning you weren't too happy...but the in the second part finally I saw everyone of you smiling and it was a great thing.
I hope you really come back soon, 'cause as you seen:
Hungary was in need of a Porcupine Tree concert
(hope there was enough people and there is really a chance to see the band again)

I've got only one question: when did you desided to became a Magician? :D
That trick was funny.

Kalma · #**3794** 11-03-2009, 05:02 PM

Hi Gavin,

I wrote Sonor about a GH Signature Drum and they answered:

"Hello David,

Gavin Harrison is definitely on the list for Signature Drum Endorsers!

After the Series was official introduced official with Danny Carey and Phil Rudd it has been expanded yearly. There will be a GH Snare Drum"
I had to translate this from german into english and I hope you will understand!

All the best
David

Fox622003 · #**3795** 11-03-2009, 09:29 PM

Quote:

Originally Posted by Kalma

Gavin Harrison is definitely on the list for Signature Drum Endorsers!

I'd definitely get one! It would be cool if it came with Puresound snares, 8 strand ;) .
Oh and I wanted to ask if the basic pattern for the beat at the beginning of Mother and Child Divided (from the Arriving Somewhere DVD) was something like this:

I don't really know where the ghost notes go though, do you play them in a set place, or do you just sometimes fill "random" spots?
Thanks Gavin, hope the road isn't too harsh on you!

Fox.

Kalma · #**3796** 11-03-2009, 10:46 PM

Here's a transcription with it fills:

Fox622003 · #**3797** 11-03-2009, 10:53 PM

Quote:

Originally Posted by Kalma

Here's a transcription with it fills:

Thanks, I searched the thread but couldn't find anything.

Fox.

shortsman · #**3798** 11-04-2009, 04:08 AM

It will be great if we have the chance to get a Gavin Harrison signature snare drum! i would also like to see one day GH's signature bells! This is maybe my biggest dream! I truly adore these bells!

Gavin do you always record your parts with metronome? Have you ever written without a metronome? Also do you play live with a metronome in general or only when you play in clinic and together with video clips or pre-recorded parts?

SimSalaBim · #**3799** 11-04-2009, 11:35 AM

Hey Gavin just wanted to say thanks for the superb show yesterday in Slovenia. I thought it would be the other way around but I enjoyed the first round more. It kinnda hit me right in the head that the new record is a masterpiece. But the old stuff was awesome too. I really liked the fact that you decided to play Blackest Eyes. One of my faves.

My favoutire part of the show was the middle part of Time Flies with guitar soloing. Man that part just blew me away and I got the feeling the base of the band was so strong the walls almost came down:) I hope you guys had some cold ones after the show for Steven's birthday. Thank you and all the band for the best show and I hate you for making me wanna sell all my drumming gear:) Hope to see you guys live again.

By the way what size is your bass drum? Is that 20 incher?

miha · #**3800** 11-04-2009, 02:42 PM

Yeah, what a great concert yesterday in Slovenia! I hope you guys enjoyed it as much as we did (great response from lots and lots of people attending the show). The sound and performance were just phenomenal, at the time I couldn't tell whether you guys were actually playing or just doing it on a playback... ;)))