Gavin Harrison here!

[ProgFron]

Hi Gavin,

Saw you and the guys again at Pinkpop.
What a great show it was, and great to see the crowd was really into it!
What did the band think about that show?

Another question about Mother and Child Divided for Gavin or anyone who might know this.
The fill that you do coming out of that ambient middle part.
Where exactly in the bar does it start?

See you in 013 later this year!

Cheers,

Francis

[David Floegel]

Hey Gavin,

I have questions about your fills, too..
How do you develope them? Do you just think about what to play in livesituations just 2 minutes before it starts?

I changed the wood for my "dream-sq2" into beech.
What wood do you use? I think beech would make a more warm and sensible sound, right?

[Gavin Harrison]

Hi drumbumhamza,

i managed to find the Halo tabs haha and you were so right about that groove - i was wondering did u ever think of accenting every 3rd note or 5th note on the hats
- so if you were to still play something like that would you cut off the accents abruptly when say 3-4 bars of the main groove were complete ?

On my DVD Rhythmic Horizons - I play this groove with quarter notes and 3/16ths on the hi hat. I would play it as long as I needed it and then just cut it off to go into the next section.

finally this groove utilizes the same concept as that of Sound of Muzak right ?

yes it's a technique I call 'overriding'.

Hi ProgFron,

Saw you and the guys again at Pinkpop.What did the band think about that show?

we enjoyed it - I was still a bit jet lagged from coming back from Nashville the day before.

Another question about Mother and Child Divided for Gavin or anyone who might know this. The fill that you do coming out of that ambient middle part.Where exactly in the bar does it start?

I don't have a copy of it to hand - but my memory of it is that the fill starts on "1 &".

Hi Kalma,

I have questions about your fills, too..How do you develope them? Do you just think about what to play in livesituations just 2 minutes before it starts?

No, I try not to think about them at all. Some fills I feel are part of the composition and play them pretty much the same - all the others I try to improvise on the spot.

I changed the wood for my "dream-sq2" into beech.
What wood do you use? I think beech would make a more warm and sensible sound, right?

My Sonor sets are Maple - but I'm sure Beech will sound good too.

cheers
Gavin

[jez-]

Hi Gavin

Your first DVD Rhythmic Visions has been out of stock in Burningshed.com for quite a long time. Do you know when the DVD will be available again? I own your second DVD and would like to get the first one too.

[Gavin Harrison]

Hi jez-,

I don't have any more stock of that DVD - but it has been released by Hudson Music now - so you should be able to find it if you do a search on Amazon or ebay.

cheers
Gavin

[jez-]

Originally Posted by Gavin Harrison

Hi jez-,

I don't have any more stock of that DVD - but it has been released by Hudson Music now - so you should be able to find it if you do a search on Amazon or ebay.

cheers
Gavin

Great, thanks for the tip! Bought one from eBay 5 minutes ago. Looking forward to seeing you guys at the Ruisrock festival in July!

- Jez

[Trains']

Hey Gavin,

Simon Philips said he did change from rack to stands again , because there was too much resonance in the rack of mounted toms etc. . Do you have discovered similiar problem with your rack? Even a change of sound ?

Great thanks

[Joe P]

Originally Posted by Gavin Harrison

Hi jez-,

I don't have any more stock of that DVD - but it has been released by Hudson Music now - so you should be able to find it if you do a search on Amazon or ebay.

cheers
Gavin

There's a good stock of a DVD pack of both Visions and Horizons on Musiciansfriend.com.
I know, I got one :)

[Johnny Resin]

i know that some of the splashes/bells on his kit are ones he cut himself out of old cymbals...

[NeuroAxis]

Originally Posted by ProgFron

Another question about Mother and Child Divided for Gavin or anyone who might know this.
The fill that you do coming out of that ambient middle part.
Where exactly in the bar does it start?

When I play along with it I count 85 1/2 beats from the tom/kick fill when the guitar feedback cuts out. I'm sure it's broken down into regular bars but I've just never sat down and tried to figure it out. I just count to 85 and then start the fill on the 'and.'

[rev222]

Hello Gavin,

I compose music for film and television and like your self I play and record the drum tracks in my home project studio rather than using loops. My experience has been limited to close miking of the individual toms, but recently I have become intrigued with the idea of an open miking technique consisting of a close mic for the bass drum, two over heads, and another two sensitive condenser microphones such AKG 414s to capture the entire room. The idea is obviously borrowed from the older techniques when multi-track recoding was more limited. Have you ever tried a similar method? The reason I ask is that I am planning to buy a Sonor SQ2 kit soon in a similar configuration to your own, particularly shell thickness and I wanted to ask you if you find that your kit projects well when not miced, specifically if the rack toms produce enough volume to cut through the cymbals, kick, and snare. Do you think that a drum kit like yours would be welled suited to this open miking? I know thicker shells would be louder however this is not something I have tried yet and therefore would not want to buy a kit designed specifically for this recording technique. Any advice you can offer would greatly be appreciated.

Thank you.

[jiltednut]

Edit : Post Removed.

[Gavin Harrison]

Trains'

Simon Philips said he did change from rack to stands again , because there was too much resonance in the rack of mounted toms etc. . Do you have discovered similiar problem with your rack? Even a change of sound ?

I think I prefer the sound of my toms on the rack.

Hi NeuroAxis,

When I play along with it I count 85 1/2 beats from the tom/kick fill when the guitar feedback cuts out. I'm sure it's broken down into regular bars but I've just never sat down and tried to figure it out. I just count to 85 and then start the fill on the 'and.'

WOW I can't imagine counting up to 85 whilst I'm playing. I try to never count when I play if I can possibly avoid it.

Hi rev222,

I have become intrigued with the idea of an open miking technique consisting of a close mic for the bass drum, two over heads, and another two sensitive condenser microphones such AKG 414s to capture the entire room. Have you ever tried a similar method?

Yes I sometimes start like that with a mix of the drums - but I feel I still need to add a bit of the close mic sound for the depth and low end of the toms.

The reason I ask is that I am planning to buy a Sonor SQ2 kit soon in a similar configuration to your own, particularly shell thickness and I wanted to ask you if you find that your kit projects well when not miced, specifically if the rack toms produce enough volume to cut through the cymbals, kick, and snare. Do you think that a drum kit like yours would be welled suited to this open miking?

I don't really know because I never get chance to hear my kit un-miked from a distance to judge what the 'projected' sound is like. I always hear my drums through the mics. When I just play them in my studio without headphones on - I balance them naturally by the way I play them. I guess when I listen to the overhead mics the relative volumes sound as they do naturally. I'm so used to the sound I get via the mics - it's a hard thing for me to comment on.

cheers
Gavin

[NeuroAxis]

Originally Posted by Gavin Harrison

WOW I can't imagine counting up to 85 whilst I'm playing. I try to never count when I play if I can possibly avoid it.

I wouldn't want to rely on the counting if I was actually playing it live. But just for the purposes of playing along to PT CDs it's more fun to know when you come in with the fill and play along with it (not to sound all fanboy, but it's true).

But I had an unrelated question about grip. From watching your videos you seem to use a combination of French and German grips, and I'm trying to develop a style that changes back and forth between these two depending on the application. Do you work on grip a lot or is it more something that just comes naturally? Are there certain situations where you know that one style will sound better than the other?

Basically the approach I'm taking is one I got from one of my favorite drummers: to use French for speed and German for power. Just wanted to get your take on it...

[trysthedrummer]

Are you looking forward to Drummer Live this year Gavin? I will be there!.. but unfortuantely I cannot make it on the Sunday too see you play. Are you hanging around on the Saturday?

Will you be doing any signings on that day? I thought I read somewhere that you were, along with Chad Smith.

Cheers!

[Joe P]

Hey Gavin. I wanted to ask, what is that tune that you play on the intro to the A-side of Rhythmic Horizons?

[ZDrums24]

Originally Posted by NeuroAxis

But I had an unrelated question about grip. From watching your videos you seem to use a combination of French and German grips, and I'm trying to develop a style that changes back and forth between these two depending on the application. Do you work on grip a lot or is it more something that just comes naturally? Are there certain situations where you know that one style will sound better than the other?

Basically the approach I'm taking is one I got from one of my favorite drummers: to use French for speed and German for power. Just wanted to get your take on it...

sorry, butting in again.

french for speed? i have never really thought french was particularly good for any technical advantage (though there are as many ways to play as there are drummers). I really use french alot in jazz drumming because less of your hand is on top of the stick, allowing it to rebound quickly for a light touch and i use a slightly turned in (not quite enough to call fully oblique) on timpani (french gives you the light touch for resonance, but i turn over for a little more control and power). i find german great for speed and power because the fingers can generate more power from this position, plus the fulcrum is much stronger this way.

it really comes down to the way your fingers and fulcrum relate to the stick. in german, the fulcrum is well developed, the force from the stick goes into parts of your hands that can take it easily, and your fingers are wrapped well around the stick with a large amount of control and contact. in french, the fulcrum is naturally weaker because it is more open and the majority of the force from the stick is going into you thumb (which can cause problems in heavy hitters over time). your fingers dont control the stick in quite the same way. they are more open which allows the stick to rebound more naturally. i find this harder to control at high speeds for more than just a few bounces. personally, i use german or oblique about 75%-90% of the time (keep in mind, i play a lot of high energy rock). french just gives me a tool for either efficient moving (if you turn your hand from german to french while moving away from your center, you dont have to move as much of your body) or a comfort thing, like if one hand is spending a lot of time away from my center while the other is still in or on the other side of center or if i just need a real effortless rebound off my ride or something. german supplies the power and speed. in jazz, i use french a lot more.

in the end, it really needs to be a subconscious, effortless and natural feeling switch to be effective.

also, ive found over the years ive spent learning in the drum corps and concert percussion fashions after spending almost all my time playing drum set for years, ive found that there are so many little things in a grip that need to be played with to really see what it can do for you personally. how you move on the x and y planes plays very much into what grip you will use, for example. what kind of strokes you tend to use. how tightly do you hold the stick? there are so many details to look at, but over thinking it all will kill the point of switching, which is an ease thing more than anything.

hope it helped.

[hauk]

Hi again Gavin, a few questions:

When Steven writes a song, how does the recording process go? I assume he sends you a scratch track with him playing guitar and bass and singing, maybe with a drum machine playing the basic part he has in his head? Then you record your part as do Colin and Richard and Steve gets them all, records his final cuts, and mixes it? Or am I way off?

Do you happen to have the main marimba pattern in 19 Days written out anywhere? I'd love to learn that.

Originally Posted by Gavin Harrison

I'm mad for Formula 1...but I don't get to drive too much these days - let alone race. I hardly go anywhere in my car.

I have to ask, who's your driver? I've been pulling for Kimi for the last several years. Too bad what happened at Montreal.

How did you decide to put that complex polyrhythm into What Happens Now? It fits perfectly, but I can't imagine what led you to try it as part of the composition. The same goes for other examples; are there any specific things you tend to pick up on that spark an idea for a polyrhythm in the song?

Finally, this probably sounds like quite an odd question, but would you ever consider writing an ensemble for concert percussionists? I know it's out of the norm for you but I think with your rhythmic ideas you could compose something really fun. Knowing how to play marimba and some hand percussion helps your case as well.

Thanks for your time, it means a lot to us here.

[JamStew]

Hi Gavin!

I just started to work with quintuplet-, septuplet and nonupletparadiddles. Well, I began with figuring out some quintupletparadiddles theoretically on a sheet of paper and came up with this:

4/4 |: RLRLR RLRLR LRLRL LRLRL :|

This is my idea of a form of an 'arranged' simple double paradiddle to fit in a four quarter bar of quintuplets. With septuplet- and nonupletparadiddles I proceeded similarly. Do you think it is helpful to play these figures like this or is it better to practise them in their 'unchanged' form like this:

4/4 |: RLRLR RLRLR LLRLR LRRLR :|

?

Already thanks for your response!

Best wishes from Germany,

JamStew (Kilian)

[jdzzz]

Hey Gavin,
I'd like to know whether counting really is that important.
I try to replicate the feel of the song rather than count.
The other day i was trying out sound of muzak.
rather than counting i tried to go along with the feel of the song and could play it.
Its been a year since i have started drumming so i'd like to know whether my approach is correct or not.

[Gavin Harrison]

Hi NeuroAxis,

From watching your videos you seem to use a combination of French and German grips, and I'm trying to develop a style that changes back and forth between these two depending on the application. Do you work on grip a lot or is it more something that just comes naturally? Are there certain situations where you know that one style will sound better than the other?

Any grip changing I do is purely instinctive - I know I do move from one to the other and there's probably a lot of in between too. I just do what feels right for the touch/volume I need at that point.

Hi trysthedrummer

Are you looking forward to Drummer Live this year Gavin?Will you be doing any signings?

I think it should be good fun. I'm only going to be there on Sunday as I'm just about to leave for Austria and do a PT festival. I believe I will be do a signing session with Jojo at the Sonor stand around 12:30?

Hi Joe P

Hey Gavin. I wanted to ask, what is that tune that you play on the intro to the A-side of Rhythmic Horizons?

It's just a little riff I wrote for that into.

Hi hauk,

When Steven writes a song, how does the recording process go? I assume he sends you a scratch track with him playing guitar and bass and singing, maybe with a drum machine playing the basic part he has in his head? Then you record your part as do Colin and Richard and Steve gets them all, records his final cuts, and mixes it? Or am I way off?

That's how some of the compositions go.

Do you happen to have the main marimba pattern in 19 Days written out anywhere? I'd love to learn that.



How did you decide to put that complex polyrhythm into What Happens Now? It fits perfectly, but I can't imagine what led you to try it as part of the composition. The same goes for other examples; are there any specific things you tend to pick up on that spark an idea for a polyrhythm in the song?

Whilst in a writing session we got to the point in "What Happens Now" where we felt it needed to take off in a different direction - so I suggested that polyrhythm and the way the others should play to it. On other occasions polyrhythmic ideas come to me based on a rhythm I can hear in someone else's part.

Finally, this probably sounds like quite an odd question, but would you ever consider writing an ensemble for concert percussionists?

It's an interesting idea but I don't think I'd have the time to do it.

Hi JamStew,

Do you think it is helpful to play these figures like this or is it better to practise them in their 'unchanged' form

I think any sticking is helpful - especially in odd groups such as these.

Hi jdzzz,

I'd like to know whether counting really is that important.

I think it is when you're practicing - but I try not to do it when I perform.

Cheers
Gavin

[e7z]

Hello Gavin!

I have ticket to TP's Moscow gig. I will see your drumming live. It's great! Do you plan some clinic or workshop in Moscow?

[NeuroAxis]

Thanks to Gavin and ZDrums24 for the advice on grip. I also used both more or less without thinking about it or really knowing what I was doing; I would just go by what felt best.

But I definitely feel the difference in switching to French during a cascading drumroll or when the right hand is playing the ride. It's much more relaxed in this position.

[raguer]

HI Gav how are u?

everytime i hear u comes to my mind your uncommon way to fill the spaces in the music,
where do learn that or how it born inside you, its maybe about your musical influences can u tell me about this; who is your favorite drummer?


Lord bless u man
cheers

Raul Guereca

[David Floegel]

Hey Gavin :)
what's up?

i wanted to know which in-ear-system you use.

[Gavin Harrison]

Hi e7z

I have ticket to TP's Moscow gig. I will see your drumming live. It's great! Do you plan some clinic or workshop in Moscow?,

I have no plans for a drum clinic in Moscow.

Hi raguer,

everytime i hear u comes to my mind your uncommon way to fill the spaces in the music,
where do learn that or how it born inside you, its maybe about your musical influences can u tell me about this; who is your favorite drummer?

I try to play less 'common' drum fills if I can. It takes a lot of effort and it's something I've been working on for many years. It's not really about influences so much as finding ideas within yourself. I like many drummers - have a search back through this thread.

Hi Kalma,

i wanted to know which in-ear-system you use.

I use very simple Sennheiser MX400 (or MX300) inside a custom mold of my ear. I also have a pair of Ultimate Ear UE10's but I don't enjoy playing with them as much as the Sennheiser's.

cheers
Gavin

[RED-DIAMOND]

Hey Gavin

I wonder what is the name of the song you play here:
http://www.youtube.com/watch?v=X81qq...read49085.html

And one more thing, when would Porcupine tree will preform in Israel(as porcupine - not blackfield)?

thanks, Etan.

[daniele]

Hi Gavin. In the 1993 you have play one song (cannibali) in the homonym Raf's album (a very good job!). Why they have call you for play only one song? Thanks!

[jdzzz]

hey Gavin,
A bit lenghty question here...
When one starts of with drums,there is an aspiration and the fire to play in a band and be a good drummer or to some it can be to play like their favourite drummer.
now at this given moment i aspire to reach the level of playing you are at.so there is this constant push from the inside.am not talking about replicatin your style but the level of playing.
what drives you?you have reached a certain benchmark,what do you see next for yourself.
what is it that makes you push that extra hard?What motivates you at your level.

[David Floegel]

Originally Posted by Gavin Harrison

Hi Kalma,

i wanted to know which in-ear-system you use.

I use very simple Sennheiser MX400 (or MX300) inside a custom mold of my ear. I also have a pair of Ultimate Ear UE10's but I don't enjoy playing with them as much as the Sennheiser's.

cheers
Gavin

Ah, ok.
But how does the Sennheisers look? Did you "tune" them or are they available with an attachment for custom molds??

[hauk]

Gavin,
Thanks for your replies

[Joe P]

Originally Posted by RED-DIAMOND

Hey Gavin

I wonder what is the name of the song you play here:
http://www.youtube.com/watch?v=X81qq...read49085.html

And one more thing, when would Porcupine tree will preform in Israel(as porcupine - not blackfield)?

thanks, Etan.

It's called "Quite Firm" by Laurence Cottle...

[RED-DIAMOND]

Originally Posted by Joe P

It's called "Quite Firm" by Laurence Cottle...

I don't find the song or the author... do you know maybe the name of the CD?

and again, if you didn't notice Gavin, when will Porcupine tree have a performance in Israel?

thanks again, Etan.

[Joe P]

Originally Posted by RED-DIAMOND

I don't find the song or the author... do you know maybe the name of the CD?

and again, if you didn't notice Gavin, when will Porcupine tree have a performance in Israel?

thanks again, Etan.

I'm pretty sure that Laurence made that mix especially for Gavin, but I could be wrong...

[sneakydutch]

Originally Posted by Joe P

I'm pretty sure that Laurence made that mix especially for Gavin, but I could be wrong...

I couldn't find that version but I did find an awesome live version on Laurence's website.

[Gavin Harrison]

Hi RED-DIAMOND,

when would Porcupine tree will preform in Israel(as porcupine - not blackfield)?

We have no plans to come to Israel at the moment.

Hi daniele

In the 1993 you have play one song (cannibali) in the homonym Raf's album (a very good job!). Why they have call you for play only one song?

The rest of that record was already finished - they just asked me to play that one song - I don't know why. Some producers like to use different drummers for different songs.

Hi jdzzz,

what drives you?you have reached a certain benchmark,what do you see next for yourself.
what is it that makes you push that extra hard?What motivates you at your level.

I love playing drums - but it's the music that really drives me. I'm in competition with myself to play the best I can and to keep progressing forwards. I feel disappointed if I just keep playing the same stuff/same licks and fills - I know when I do something new (for me) and that makes me want to strive for it.

Hi Kalma,

But how does the Sennheisers look? Did you "tune" them or are they available with an attachment for custom molds??

I don't know what you mean by 'tuning' but this is what they look like when they are inside some molds:


Regarding the track "Quite Firm" by Laurence Cottle. I made a session for Laurence around 2001 and recorded that track. I was in the middle of making my first DVD Rhythmic Visions and I asked him if I could use that track on my DVD. That version of it is only on that DVD.

cheers
Gavin

[xopethx]

Hello Gavin!

I have a question about your mic setup - do you ever find it necessary to mic your cup-chimes more closely? I know you're using some pretty high-end overheads, but i've tried some similar patterns to yours, and i'm having a hard time getting them to come through clearly, at a good volume. Of course, it could also be the characteristics of each particular chime. I'm using Rode NT-5s at the moment, about 8 inches above my my head, at almost 45-degree angles pointing toward the kit, and away from each other. I'm using another NT-5 just for the hi-hats, and there's a very small amount of spill from the chimes (not enough to be considered useful)

Thanks for any suggestions :)

[facu]

Hi Gavin!

My name is Facundo, and I'm from Spain. I'm 15 years old and I have a question for you.

I want to come to your concert in october in the Sala Apolo (Barcelona), but in october I will haven't the age to enter in this place, (the minimum is 16 years old). What can I do? Can you or someone help me?

Thanks!!!!!!

[daniele]

Hi Gavin,
do you like more sm 57 or Audix i5 for snare's studio recording? whats differents have you found? I should buy one of this but i'm undecided. Thank you

[reg]

Good day Gavin

I am working with my son on proper drum technique grip and hitting the drums in the center of the skin, I did work with him on the coin taped to the center of the skin, now it is mostly grip that I am working with him on, keeping the thumb up and sitting up straight (posture), do you have any suggestions on this topic that may help me out? Technique is so important and he is at an early age so it better to get him on the right path now then later.

Reg