My Big Metal Challenge

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PQleyR

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NOTE: I've edited this thread for reasons of discretion.

This does mean, though, that I really have to get my act together as far as practice goes.
When I was offered this, I was only able to play 16ths on the kick at about 140bpm with enough precision to record. This record will require at least 180, and possibly as high as 200 or even 210, a long way from my present ability. My hand speed could also do with some improvement. As a result, I spent a while thinking about what I needed to practise and how, and after a few months of experimentation I've found a practice regime that seems to do the job. I thought I'd run it by you guys and see what you thought, and if you had any suggestions for other things I could try.

I have to thank Derek Roddy for this as it's mostly exercises that he devised, so thanks Derek, if you happen to read this!

I have four days a week that I can practice in, as I live in a top-floor flat and my neighbours have been very reasonable to let me practice at all. I'm using a Bill Sanders practice kit with a Gibraltar kick drum pad, no room for real drums even if the noise wasn't an issue.

I warm up with a balance exercise playing a single stroke roll between a hand and a foot like this:

RH LF for two minutes.
LH RF for two minutes.
RH RF for two minutes.
LH LF for two minutes.

Then I do Derek's stamina exercise for half an hour:

Four strokes each hand, alternating, for two minutes.
Then eight with each hand.
Then sixteen.
Then thirty-two.
Then a single-stroke roll for two minutes.

Then all of that again, but with the feet.

Then finally hands and feet together.

I started the first exercise at 104, and the second at 126, and increase the tempo by one bpm each time I practice. I've got to 125 and 147 respectively.

Now, this is great, and I've already noticed a difference, so it's doing good things for me, but I wonder if there's anything else I could add. I don't practice for too long each time for my neighbours' peace of mind, but I expect I could extend this 40-minute routine to an hour without causing too much distress. It's the bass pad that they hear anyway, I think the hands are ok.

So...that's one thing.

The other thing is, a kit is going to be hired in for this recording, and I have no idea what I want to use! I've only ever used old worn-out second hand stuff that was either cheap or just lying around, and have never been in a position to actually choose what I wanted to use. What would you recommend? I'm open to any suggestions, your personal preferences or what you think would suit the material. You can get a basic idea from the demos on the myspace, with programmed drums, how the whole thing sounds.

Thank you for reading this, if you've made it all the way through...I suppose an epic post is appropriate for epic power metal. As ever, any comments you have will be gratefully received.
 
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I love obscure European metal bands (well, they're almost all obscure over here), but I can't hang with the Pirate metal scene or the dungeon and dragons fantasy scene.

But good luck to you. I know there is a market for that stuff.

I assume you're doing these exercises with a metronome? If not, that would be my advise.
As long as you keep it going every day, you'll be fine.

As for the drum kit, you may want into inquire if they plan on using triggers or sound replacement software. I've not heard a metal album in a long time that didn't use at least bass drum triggers. If so, then perhaps what kit you use won't be that much of a big deal.

If the record company/producer is hiring a recording kit for you to use, I'm sure they have ideas on what they prefer. I really don't think any one brand over another is more suited to any one musical style, as we see with the pros, they all use different gear and it all sounds pretty awesome in the final mix.
 
Yes, I am of course using a metronome. The tempos are in there with the other info.

As I understand it Alestorm record samples from the actual kit in the studio, then use the recording to trigger those samples, which are blended with the actual recording. So head choice at least will be a factor in the sound. I agree, the kit itself probably isn't that important.
I was thinking more about cymbals, which will be recorded either way, I expect. My cymbals mostly came from ebay, and sonic considerations are secondary to price and whether they are stilll intact. Any suggestions on that subject would be most useful.
 
Congrats Man! My girlfriend is a big Alestorm fan. Tracks sound like some fun stuff. I hope you come through Tempe AZ when you tour the States.

I'm gonna suggest it before anyone else gets to: have you thought about getting an instructor while you have time to sharpen your chops, certainly couldn't hurt. Who knows, you go in with you crisp A-game then you might have more work in your future. I'm no metal drummer but I hear doing para diddles with your feet works wonders for metal chops.

As for a snare, sounds pretty dry on the myspace. I'm thinking a brass free-floater with an Evans Dry head on there.

Be careful with those Scots, I hear they're some heavy drinking types. :-D
 
I have had one lesson with a very good teacher just to set me on the right path, and I'm considering going back for another one soon. The only issue is money really, good teachers can be expensive. Paradiddles is an interesting idea, I've been thinking of putting some double strokes in there anyway.

I don't like that snare sound on the demos, it's not very much like mine. I play an LM402, so it's deeper and more live sounding than that EZDrummer sample.

I really want to make the best use of this opportunity that I can, no excuses, no poor performances. This is the first time I've had a chance like this and I do intend to make the most of it.

Those Scots are indeed heavy drinking types, I've witnessed that first hand on several occasions! I don't know how they keep going, to be honest, it sounds like too much hard work to me.
 
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I was thinking more about cymbals, which will be recorded either way, I expect. My cymbals mostly came from ebay, and sonic considerations are secondary to price and whether they are stilll intact. Any suggestions on that subject would be most useful.

I'd say have one or two 18 or 19's.

Small crashes sound pretty lame in metal in my humble opinion.

While live thicker cymbals tend to be favorable to cut through the amps, in the studio that's much much of a concern. Outside of that, it's personal preference.
 
Haha Alestorm excellent! Love that band.

Well first off congratulations man I'm well chuffed for you.

What you are doing sounds good however I hate to say it but the sooner you throw yourself in at 180 or 200, the better. Derek once gave a piece of advice on the double bass technique thread:

Haha...that's the entire point.
What drummers don't realize is that....this type of playing doesn't come to you unless you are actually doing it.Force yourself through it...and you'll be playing it much faster than...."working on playing it". Your body... will figure out how to do what you're asking it to do. If you don't ask it.....it doesn't know. If you don't show your body what you want it to do...you'll never get it.

This is entirely a different ball game than working on single stroke on a pad with your hands or feet.

You'll get it...just go for it.
Yes, it will be sloppy at first but, like I said.....You have to show your body what you expect of it.
While pushing yourself to do this....you also work on the other exercises that will give you control. You have to do both.
Cheers,
D.

http://www.drummerworld.com/forums/showthread.php?t=2885&highlight=double+bass+technique

That is a link to the double bass technique thread.

I believe this is sound advice, throwing yourself in at the deep end and constantly doing so is the best way to achieve speed in short periods of time, It is essentially what I did. Keep doing what you are doing by all means but you aren't going to reach 210 from 140 in a couple of months by doing that alone, you really need to push yourself and keep doing so as Derek has stated.

One of the best exercises I can recommend is from good old Andols Herrick of Chimaira I did this and it worked wonders for me.

http://www.youtube.com/watch?v=fYmf4y66rzs

The exercise begins at 4:10, do this and get comfortable with putting your feet through the different motions and you shouldn't have much problem.

I hope this has been of some use to you, very best of luck.
 
Hmm. That's an interesting thought, but that's what I've been doing for quite a while without much success. Moving up at one beat per minute at a time, but sort of forcing myself to get through it, means that I'm building a solid foundation while still pushing into unfamiliar territory. I've tried playing faster before and never got anywhere, no progress at all.
In the band I've been in for a while I'm even now punching (or kicking) above my weight, playing full-tempo stuff without having got to the higher speeds, which should serve the same function.

Also, surely repeating a sloppy motion means you're programming that into your muscle memory?
 
Hmm. That's an interesting thought, but that's what I've been doing for quite a while without much success. Moving up at one beat per minute at a time, but sort of forcing myself to get through it, means that I'm building a solid foundation while still pushing into unfamiliar territory. I've tried playing faster before and never got anywhere, no progress at all.
In the band I've been in for a while I'm even now punching (or kicking) above my weight, playing full-tempo stuff without having got to the higher speeds, which should serve the same function.

Also, surely repeating a sloppy motion means you're programming that into your muscle memory?

I would keep at it and still try forcing yourself into the higher tempos now and then. The thing is yes you do start sloppy but your feet even themselves out eventually and I found I can play most tempos from slow to fast with little problem.

My worry is since you have no higher tempo experience with the feet, recording could become a nightmare, did the guys in Alestorm consider that you can't play these speeds before asking you?

For quickness you could try upping the bpm by 2 rather than 1 as progress will be slow that way, yeah it's great doing it by 1 bpm but the fact is you don't have a lot of time and you can double your progress by doing 2 and there really isn't that great a difference between 1 and 2 bpm.

One thing I could also suggest if you haven't already is to heighten your throne and learn to play with your ankles as when you are hitting anything above 190 this is usually what you are using. Playing in the 150 range you are probably still using your hip flexors, when you hit 180 this is going to change and it will feel like a completely different motion.
 
My throne is fairly high as it is, I've experimented with different heights quite a lot already.

To say I have no high tempo experience isn't strictly true, I've been trying to play faster than I can for ages before realizing that I wasn't getting anywhere. I've arrived at this method after several months of experimentation to see what seemed to work, before going right back to the foundations.

I've worked out that if I can manage 4bpm a week then I'll get to 210 by early March, even at this pace, which should be plenty of time. I'd prefer to be able to do 180 with complete confidence than a shaky 210, although of course if I can do the former then the latter would probably be possible too.

Thanks guys for the input so far, I appreciate your effort and will give everything suggested my full consideration.
 
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