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  #1521  
Old 09-06-2007, 06:05 PM
Ayl20 Ayl20 is offline
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Default Re: Gavin Harrison here!

I second that visit to Australia commented on above. It would be awesome to see you and PT down here, but for a lot of bands i can see why Australia is not an economically viable destination :(

Anyway, i have a quick question if you don't mind. I was wondering if you have a favourite style of music to play? I read that your dad was a jazz trumpeter (i hope that this is right), so i was wondering whether you still play alot of other styles of music outside of your current projects genre's (if you have time that is)? Also, this may sound like a stupid question, but i was wondering whether you are a fan of Porcupine Tree's music? I'm sure that you like your music (considering that you have such an input into it), but i was wondering whether you would still listen to PT if you didn't play with them. It may seem an odd question but i know some friends who play in bands in which they despise the music but like their own parts within the music... it's a strange situation i know :)
I don't mean any disrespect... i LOVE PT!!!

Any reply would be greatly aprreciated.

Regards,

-Luke
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  #1522  
Old 09-06-2007, 09:52 PM
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xamanex xamanex is offline
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Default Re: Gavin Harrison here!

hello Mr Gavin

I am argentinian , Im drummer
My name is Cristian

one question

what double pedals do you use ???

axis?
or pearl eliminator??
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  #1523  
Old 09-07-2007, 05:41 AM
Stanley Stanley is offline
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Default Re: Gavin Harrison here!

Hi Gavin,

What kind of microphone clamps do you use to mount your ND408's to your toms? I have not been able to get mine in the position that I see yours in the Arriving DVD.

Thank You for your time,
Joel
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  #1524  
Old 09-07-2007, 06:25 AM
aydee aydee is offline
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Default Re: Gavin Harrison here!

Hi Gavin, just curious...., since you seem to me, to be delving into a lot of poly-rhythmic layering, and exploring odd groupings signature -wise ( the 19/8 ..7, 7, 5 you did at musicmesse), and also kind of approaching rhythm in a very phrased manner,.... have you heard or been inspired by any of the Indian stuff.

The reason I ask, is because the principles and approach of Indian rhythm is exactly that.

thanks, and great playing!, as always.

Last edited by aydee; 09-07-2007 at 08:49 AM.
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  #1525  
Old 09-07-2007, 02:59 PM
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Gavin Harrison Gavin Harrison is offline
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Default Re: Gavin Harrison here!

Hi monkeyboy,

have you guys got Australia penciled in for a future tour with the the Tree?

not at the moment.

Hi dannypenalver,

What kind of exercises did you play to develop the speed and endurance for the PT songs and the DVD's? Do you use moeller or anything like it?

As I've said before - I really don't think I've got some great technique on the double bass drum pedals. There are plenty of drummers around who have - and I'm probably not the right person to give advice about it. I don't think I use a moeller technique with my feet - probably the thing that has got me the furthest is perseverance. I've been trying to play a double pedal since 1984 - am I'm still working on it. Accuracy is the "Holy Grail" for me - not speed.

Hi Ayl20,

I was wondering if you have a favourite style of music to play?


I don't really have a favorite style of music to play - I don't really think in 'genres'. For me, there's just 'good music' and 'bad music' - according to my personal taste. I try to play as much as I can in the 'good music' style.

Hi xamanex,

one question what double pedals do you use ???

At the moment I'm using Axis Longboards.

Hi Stanley,

What kind of microphone clamps do you use to mount your ND408's to your toms? I have not been able to get mine in the position that I see yours in the Arriving DVD.


On that DVD - the tom mics were mounted on clamps that gripped the suspension arms of the toms. So - not on the rims themselves - but the metal suspension arms that are just off the shell. I really don't like clamps on the rims of the drums because they effect the sound of the drum. Now I have those mics on short boom arms mounted off the drum rack.

Hi aydee,

have you heard or been inspired by any of the Indian stuff.

Yes to both of those. I used to be in a band with a brilliant Indian tabla player - and I learnt many things from him. I know about the way they count with syllables - and my method of counting odd rhythms and groupings is very similar.

cheers
Gavin
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  #1526  
Old 09-07-2007, 05:37 PM
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dairyairman dairyairman is offline
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Default Re: Gavin Harrison here!

hey gavin! i'm looking forward to the upcoming porcupine tree show in orlando florida, oct. 4th. i see that park avenue cds (a local record store) has announced that porcupine tree will be doing an in-store show earlier in the evening. that's a really small venue, so i know you won't be bringing your kit there, but will you be there at all? i mean, do you generally show up for small acoustic performances like that? i hope so because i'd love to see you perform at close range on hand drums or whatever, and maybe get the chance to meet you before the big show later in the evening.
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  #1527  
Old 09-09-2007, 12:13 PM
angelo angelo is offline
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Default Re: Gavin Harrison here!

Hi Gavin,
I have made to construct my support for cup chime with Quick-release with spring this support is total in alluminium.







Can you say of what about of this? do you like it?
thanks of experiment and thanks a lot
Angelo
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  #1528  
Old 09-09-2007, 04:05 PM
Ayl20 Ayl20 is offline
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Default Re: Gavin Harrison here!

Hello Mr Harrison,

I was wondering, if you had time, whether you could explain the fill from 'Sounds of Muzak' to me... it's one of my favourite fills of yours and it is sooo tasteful. It is the one which links the vocal/acoustic guitar part to the final chorus/outro.

I have been learning the song and (to me at least) it all sounds pretty correct to the extent that my abilities will allow it be, but when i play that fill it just lacks the texture and feel that it should have and i think it may be that i'm not playing it in its enirety... like, for instance, i may be missing out a bass drum stroke when there should be one.

My main problem is that I can't work out which drums you are playing; that is, i'ts hard for me to hear the exact voicings of each note<< i hope this makes sense. Anyway, if you have already covered this then don't worry about replying because i'm slowly making my way through the whole thread. Also, if it's too much effort or time (believe me i will understand) then don't bother, but if you could it would be greatly, greatly appreciated.

Keep up the GREAT work.

Regards,

-Luke

((( If anyone else knows this fill then you could save Gavin some time if you wanted ; )





Sorry about all the deleted posts... i was having some computer problems, i don't know how it happened?!?!
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  #1529  
Old 09-09-2007, 08:04 PM
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hauk hauk is offline
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Default Re: Gavin Harrison here!

Quote:
Originally Posted by Ayl20 View Post
((( If anyone else knows this fill then you could save Gavin some time if you wanted ; )
In the prog issue of Modern Drummer (Mike Portnoy cover) that just came out there is a full transcription of The Sound of Muzak if you want to check it out.
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  #1530  
Old 09-10-2007, 01:22 AM
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Gavin Harrison Gavin Harrison is offline
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Default Re: Gavin Harrison here!

Hi dairyairman,

i see that park avenue cds (a local record store) has announced that porcupine tree will be doing an in-store show earlier in the evening. that's a really small venue, so i know you won't be bringing your kit there, but will you be there at all? i mean, do you generally show up for small acoustic performances like that? i

I doubt very much that I'll be there. Usually these small in-store things have no room for a full band setup - and so typically they tend to be Steve and Wes singing and playing acoustic guitars.

Hi angelo,
your cymbal rack looks very similar to mine - looks like you did a good job with it.

Hi Ayl20,

I was wondering, if you had time, whether you could explain the fill from 'Sounds of Muzak' to me

Hauk is correct - there's a transcription of the whole track in the new Modern Drummer. I've just checked it against the fill and I think there's probably two 32nd on the bass drum directly after the two 32nds on the tom....but it was a long time ago that I recorded it - and my playing on that track has slowly mutated over the years into something else. Anyway - I'm glad you like it.

cheers
Gavin
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  #1531  
Old 09-10-2007, 01:56 AM
Clint Hopkins Clint Hopkins is offline
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Default Re: Gavin Harrison here!

Hi Gavin,
I was wondering if you (and Angelo, if he'd like) could explain the construction of the actual chime mount. I'm highly interested in making one myself.

Thanks so much. Looking forward to seeing you and the rest of PT in Atlanta in October.

Clint
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  #1532  
Old 09-10-2007, 02:49 AM
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ItalianRicky ItalianRicky is offline
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Default Re: Gavin Harrison here!

Hi gavin, this is my 1st post on this forum, and i'm glad to use it for write to you.
Probably i write some errors..my english is not good...:(

Since the first time i heard you in "la cura" of Franco Battiato, 34 years ago, i loved your drumming style.
From that moment, i've followed you and your musicianship with Porcupine Tree...
I've always played with a 8" 10" 12" 14" 16" 22"x18" and 2 snares set, and i gotta say that when i saw you with my same setup i was very glad.I was contaminated from you,overall by 2 things:
your tingle cups and the 14" oriental china that you use for example in "mother and child divided".
I've introduced it in my set and i gotta say that this add to my drumming a lot of ideas.
Now i wanna ask you some tips...

1- tuning drums.
I've found a great Bass drum sound with an Evans EQ4(similar to Power Stroke 3 remo).
But i got serius problems with the 12" tom and the 16".
I got a lot of sustain...too much sustain.
I'm using coated single ply heads...I need the warm sound of coated heads and a more hard sound on tom toms.do you suggest to use double ply heads?
Do you have some trick to tune the toms?resonant heads must have an particolar tuning?

2-snare drum.
Your sound on the snare is simply amazing.I've heard you at Drumsportal clinic in rieti(do you remember Yuri?) ans at boschello music store.Your designer 12" snare sound in a killer way!That time you've told me that you usually use emperor,pinstripe and emperor X on snares.But i saw that you have a heavy hit on the drums...i think that i have a little weak hit than you.I wanna a controlled sound on the snare...i've found a better head than ambassador in CS...emperor may be more versatile?the last problem is the ZZZZZ of my snare...what i can do for resolve this problem?


Thanks a lot and sorry if've stealed a lot of time to you.
i show you a photo of my set...i think that it seem familiar to you...:D

Thanks again Gavin, good luck!

Riccardo
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  #1533  
Old 09-10-2007, 04:10 AM
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Default Re: Gavin Harrison here!

Hi Gavin

I was curious: why did you choose to play matched grip? Is it a comfort issue or do you not like the look of traditional grip or something? I'm just curious... :)
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  #1534  
Old 09-10-2007, 01:29 PM
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Gavin Harrison Gavin Harrison is offline
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Hi Clint Hopkins,

I was wondering if you (and Angelo, if he'd like) could explain the construction of the actual chime mount. I'm highly interested in making one myself.

I can't really explain how my one was made because a good friend of mine made it for me. I know Sabian used to make something similar to it.

Hi ItalianRicky,

Since the first time i heard you in "la cura" of Franco Battiato, 34 years ago


I don't think it was 34 years ago :-) It was recorded in the late 1990's

But i got serius problems with the 12" tom and the 16".
I got a lot of sustain...too much sustain.
I'm using coated single ply heads...I need the warm sound of coated heads and a more hard sound on tom toms.do you suggest to use double ply heads?
Do you have some trick to tune the toms?resonant heads must have an particolar tuning?


Try making a thin "O" rings (about 1.5cms wide) and drop them inside those "ringing" drums.The "O" ring should just rest on the bottom head inside. If it still rings too much - make a wider "O" ring - or a narrower one if the sustain is killed too much. I would also try changing to Remo coated Emperors on the top. I have no particular method - except experience and perseverance.

I wanna a controlled sound on the snare...i've found a better head than ambassador in CS...emperor may be more versatile?the last problem is the ZZZZZ of my snare...what i can do for resolve this problem?

Try all the heads - sometimes a particular drum works best with a particular head. Recently I'm using C.S in combination with a thin "O" ring. Is your snare drum buzzing by itself - or when you hit the toms? I use a Puresound 1412 but I take off the outside 4 snares (two from each side) so there's just 8 snares in the middle.
Regarding the buzz when you hit the toms: Turn off the snares and compare the pitch of the snare drum against the toms. If any of the tom pitches are close to the snare pitch - you'll get buzz when the snares are on. You have to change the pitch of either the tom(s) or the snare drum to avoid it (although it never goes away completely - but you can improve it a lot).

Hi Scone,

I was curious: why did you choose to play matched grip? Is it a comfort issue or do you not like the look of traditional grip or something?

My drum teacher - when I was a kid - wanted me to play matched grip. It just makes more sense to me - especially if you're playing loud. I do occasionally switch when I want that sensitive light articulate touch from the snare drum - but 99% of the time I play matched. I just can't get really loud rim shots from playing traditional grip.

cheers
Gavin
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  #1535  
Old 09-10-2007, 01:45 PM
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ItalianRicky ItalianRicky is offline
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Default Re: Gavin Harrison here!

Quote:
Originally Posted by Gavin Harrison View Post
Hi Clint Hopkins,

Hi ItalianRicky,

Since the first time i heard you in "la cura" of Franco Battiato, 34 years ago


I don't think it was 34 years ago :-) It was recorded in the late 1990's

sorry gavin,i wanna write "4" i've put a wrong "3" !!!I've heard this song 4 years ago,from the Lp "L'Imboscata"...the first time that i hear completely the song and i ask for the drummer that played it.Something changed for me that day. ;-)

thanks a lot for the advices. I'll try to change with emperors or similar double ply heads on my toms.
But do you think that i gotta use internal rings anyway?Or this is only if i keep my single ply coated heads?

On the snare i'll try to use a O-ring...(but over the batter head,not internal like toms,right?) with my cs and i will tell you if i have an improvement with the sound.
For the Buzz of the snare drum...i've checked today,the pitch was similar to my 10" tom, and i lower the snare pitch.But i have anyway a consistent buzz.I'm using a Pearl bronze snare,24 snares.My snare is very particular,is a 20 plies of maple and birch..do you have never worked with some similar? i'll take off some snares...and hope that thing can help me.
thanks a lot, Gavin... for me seems impossible to write you in this easy way...it's wonderful!!!

goodbye!
Riccardo.

Last edited by ItalianRicky; 09-11-2007 at 01:39 AM.
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  #1536  
Old 09-12-2007, 02:31 PM
Ayl20 Ayl20 is offline
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Default Re: Gavin Harrison here!

Hi Gavin,

I just got the DVD 'Rhythmic visions' and am waiting on 'Rhythmic horizons'.
First of all, i love the DVD, especially the alternate audio (click or music) and all of the new concepts (to me) which you introduce.

However, I'm having trouble applying the concept of displacement into a musical context without adding what i feel to be excessive tension. Would you (or anyone else) be able to tell me a part (or parts) of a PT song in which you use this technique so that i can see how you have played it in a musical context?

I have been playing around with some displacements but i have found that (to me) i cannot create a musical rhythm. So i was wondering, is there a way to compose a beat/rhythm which you know will sound musical when displaced?? So it would sort of be like working backwards from the displaced beat... I hope that this makes sense.

Regard,

Luke
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  #1537  
Old 09-12-2007, 08:21 PM
angelo angelo is offline
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Default Re: Gavin Harrison here!

Quote:
Originally Posted by Clint Hopkins View Post
Hi Gavin,
I was wondering if you (and Angelo, if he'd like) could explain the construction of the actual chime mount. I'm highly interested in making one myself.
Clint
Hi Clint, how are you. My Sicilia friend realized for me the support but I can explain you .
this is realized in stainless steel and aluminum.Ihave the photo.









If you have other question feel free to ask me via pm, so we dont disturb Gavin forum space
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  #1538  
Old 09-13-2007, 01:46 AM
Doodsjongen Doodsjongen is offline
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Default Re: Gavin Harrison here!

Dear Gavin,

In one of your posts you state that the snare you like best is a 14x5 birch.
I was wondering what sonor snare you would recommend.
SONOR -51 14"X05" S CLASSIX SNARE
or
SONOR AS1405B Artist Snare 14x5 Steel Black

I know you use the black steel one in a lot of live situations
so it came as a surprise to read you like a birch snare the best.
I found out that Sonor hasn't got that many, so I was wondering
what snare, birch maybe more specificly, you like best.

with kind regards,
-Bram-
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  #1539  
Old 09-13-2007, 12:25 PM
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Gavin Harrison Gavin Harrison is offline
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Hi ItalianRicky,

But do you think that i gotta use internal rings anyway?Or this is only if i keep my single ply coated heads?

Try the Coated Emperors first - and if there's still too much ring - then try the internal "O" rings. Every kit is different - and every room is different - experimentation is the only way.

On the snare i'll try to use a O-ring...(but over the batter head,not internal like toms,right?)

Yes on the batter head...although I've never tried an "O" ring inside the snare drum.

Hi Ayl20,

However, I'm having trouble applying the concept of displacement into a musical context without adding what i feel to be excessive tension. Would you (or anyone else) be able to tell me a part (or parts) of a PT song in which you use this technique so that i can see how you have played it in a musical context?

Rhythmic Illusions (displacements and modulations) are really study material - they're just ways of manipulating rhythm. I never really intended for any of those rhythms to be used in a very literal way like "try playing this example in the middle of YMCA and see what happens". Studying those concepts helped me in many ways. First it improved my inner sense of time and understanding of placement - secondly it opened up my rhythmic brain to a different way of thinking. I use modulations more than displacements in PT - but I quite often use displacements for 'fill' ideas. Sometimes I displace rhythms in a compositional way when I'm looking for a different groove for a song - the loop in "Sentimental" was made in that way. There's already a modulation illusion going on with the piano rhythm at the start. If you use displacement for more than a few seconds it becomes another rhythm - as is the case with "Sentimental". If you use it as an effect - as in the case 21 seconds into "Futile" - it just has a dramatic unsettling feeling.
In the chapter "History" on the Rhythmic Visions DVD you can see how I use the dramatic unsettling technique for a couple of seconds during fills.

Hi angelo,
looks like you've done a great job with the cymbal bar. It looks very similar to my one.

Hi Doodsjongen,

In one of your posts you state that the snare you like best is a 14x5 birch.
I was wondering what sonor snare you would recommend.
SONOR -51 14"X05" S CLASSIX SNARE or SONOR AS1405B Artist Snare 14x5 Steel Black


I haven't played the S Classix or AS 1405B so I don't know what they are like. The Black Steel is very good indeed. The Birch Sonor snare I use is an SQ2 6 ply birch with rounded bearing edges.

cheers
Gavin
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  #1540  
Old 09-13-2007, 02:59 PM
Doodsjongen Doodsjongen is offline
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Default Re: Gavin Harrison here!

Thanks for the quick reply, will check it out.

-Bram-
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  #1541  
Old 09-13-2007, 04:31 PM
Ayl20 Ayl20 is offline
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Default Re: Gavin Harrison here!

Thanks for the quick reply Gavin.

With regards to.. "I never really intended for any of those rhythms to be used in a very literal way like "try playing this example in the middle of YMCA and see what happens" I didn't mean that i used your exact examples (though they were very good examples :).

Instead, what i did was;

1) Come up with a beat that i thought went well with the song that i was playing to.
2) Displace it a certain amount and see how it sounded.
3) Repeat step 2 with all types of beats and differing amounts of displacement.

However, i could never find a nice displaced groove that didn't disrupt the song too much.
So what i was wondering was, whether you could first work out a beat that you intended to be the displaced rhythm and then work backwards by trying to find the 'root' rhythm. But, i realised that it's pretty much just as hard to do this as it is to do the other method as either way you have to play around to find a suitable beat and also your root beat would most likely end up being rather tensioned anyway so you'd theoretically be doing the opposite of displacement in the sense that you are trying to relieve tension by means of displacement.

So then i got thinking, is there some method by which a beat can be displaced WITHOUT it adding tension?? I was thinking that maybe, mathematically there was a way that a beat can be displaced whereby the listeners hear it as an 'alternate form' of the root beat. However, i think the problem with that is that your bass drum strokes will no longer follow the bass line nor your snare play the backbeat etc. So, basically, do you know of any mathematical principles (like, for example, in 4/4 time displace by 1 quarter note or an eighth note or whatever) that instead of creating tension give a new 'feel' to the root beat?

I'm pretty certain that there aren't any, but i was just wondering if you knew of any?

I'm only just learning this sort of stuff so forgive me if this doesn't make sense.

Thankyou very much anyway for the help, and i'm really sorry about the length of the post.

Regards,

-Luke
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  #1542  
Old 09-13-2007, 07:24 PM
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Gavin Harrison Gavin Harrison is offline
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Hi Ayl20,

Creating a real "Rhythmic Illusion" is only possible when there's certain characteristics involved. Knowing that the audience is expecting a bass drum to be the anchor point on the "1" (and probably "3") whilst there's a backbeat (usually a snare drum) on 2 & 4 is exactly the reason that you can make an illusion work. You are just manipulating their perception. If you take a regular beat like this: BD 1&3 Snare 2&4 and 8's on the hi hat - and then displace it by 1/16 - people listening will re-organise that information in their brain so that the first bass drum they hear will still be a "1" to them.
This creates the tension when you first present it to them. However, displacement can be used to create great variations on a slightly unusual rhythm like example a below...

Name:  Displacement.jpg
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Examples B & C are of course displacements of A - but I hear them as new "funky" variations of A - I don't feel it puts any tension on the listener - because rhythm A wasn't so familiar to them in the first place. I could quite easily play a song that featured rhythm A and then play rhythm B or C in another part of the song without anyone getting really confused about where the downbeat has gone.

cheers
Gavin
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  #1543  
Old 09-14-2007, 02:29 AM
Ayl20 Ayl20 is offline
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Default Re: Gavin Harrison here!

Thankyou very much for your reply. I understand what you you mean.

Thanks again,

Luke
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  #1544  
Old 09-15-2007, 12:25 AM
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Dom Chandler Dom Chandler is offline
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Default Re: Gavin Harrison here!

Mr Harrison sir,
i tip my cap to you, not only a inspirational drummer, educator and award winning prog dude. But i can only admire the time and effort you put into this forum, i spent most of this evening reading most of the Q & A and i for one would like to thankyou on behalf of us drummers for spending so much time answering these questions. I'm waitng for delivery of PT's 'Nil recurring' cd, i'm sure it will be as inspirational to me as all your other work.
Thanx again mate, you're an all round good egg!
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  #1545  
Old 09-15-2007, 12:29 AM
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Drizzle Drizzle is offline
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Default Re: Gavin Harrison here!

Hey Gavin,

Lately I've been busy with your book Rhythmic Perspectives.

And I have a question about ostinato excercise nr 1.

After trying for sometime without getting any further I noticed that the problem for me was to line up the bass drum with the ghost notes.

So I started to practice the following (G being the unaccented notes and A the accented)

GGA
-B-

like in the the 2nd bar of the ostinato, and

GGA
B--

being the 3rd bar of the ostinato.

Later I put them all together and I was able to play the ostinato.

But my problem is that it doesn't feel right, it feels like I'm playing the three parts in a sequence (just lining up the bassdrum with the first or second ghostnote ) so I play the ostinato but it doesn't feel like I'm playing 3's over the latin bassdrum pattern.

My question is, did I learn it in a wrong way and made some sort of shortcut and totally missed the point of the excercise, or is it just a normal step in the process.

Greetz,
Dre

Last edited by Drizzle; 09-15-2007 at 12:41 PM.
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  #1546  
Old 09-15-2007, 11:53 AM
atman atman is offline
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Default Re: Gavin Harrison here!

Any plans for coming to Spain? ... Spain exists! :-) There's great food here, come and try "tortilla de patata", you will never be the same!
I would like to be at one of your shows but by seeing your tour dates you don't seem to like hot weather, it is great for a sunbath! I Hope you can come and see us, love, Atman.
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  #1547  
Old 09-15-2007, 01:49 PM
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gusty gusty is offline
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wow! these are some killer grooves! thanks for intruducing me to the idea of beat displacement
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  #1548  
Old 09-15-2007, 03:17 PM
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Gavin Harrison Gavin Harrison is offline
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Hi Drizzle,

But my problem is that it doesn't feel right, it feels like I'm playing the three parts in a sequence (just lining up the bass drum with the first or second ghost note ) so I play the ostinato but it doesn't feel like I'm playing 3's over the latin bass drum pattern.

My question is, did I learn it in a wrong way and made some sort of shortcut and totally missed the point of the exercise, or is it just a normal step in the process.


Does it only feel strange when you're sticking it as R L L ? One of the things that always surprises me when I play these types of exercises - is how some very fundamental co-ordination things can catch me out. That's why I wrote out the "tool boxes". They look like exercises for beginners - but to play them accurately (with nothing flamming) is actually very difficult. I still practice them now because I know that I could make them feel better. They address quite basic problems. It's a bit abstract to work on patterns that you're not going to perform - but they sure pay off in the end. You're doing exactly the right thing in identifying the problem area - and then just going over and over that area. Remember - it''s not just this particular rhythm - it's any time you're playing something with two ghost notes with your left hand and you've got to play a bass drum note exactly with one of them.

Perhaps you're focusing so hard on the groupings of 3 (R l l ) that you're changing your perspective and starting to hear it in triplets - and the bass drum notes are sounding like some odd syncopation underneath them. This is the whole point of the book - it challenges your "perception" when you're faced with two (or more) superimposed ostinatos. Try pedaling quarter notes with your hi hat foot. That should keep your mind in 2/4.

Hi atman,

Any plans for coming to Spain? ... Spain exists! :-)


we love coming to Spain - but it's not going to happen on this next tour. There's many places all over the world that we'd love to go and play in - but it's quite a complex procedure planing/routing and booking a tour.

Cheers
Gavin
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  #1549  
Old 09-16-2007, 03:14 AM
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Drizzle Drizzle is offline
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Default Re: Gavin Harrison here!

I understand what you're saying regarding the tool boxes.

At first they are not hard to play, but trying to play them real precise and lining things up is real hard and challenging.

It's very cool to see that working on 'simple' exercises like these really improves your groove playing.

I now understand my problem, through your comment about perception.
To feel the ostinato and mentally play the 2 superimposed patterns is just the hardest part.

It's like I'm playing A+B (resulting in C) and not A&B, if you know what I mean.

I would like to be able to mentally hear the individual patterns while playing the ostinato.

I've tried to sing the 3's and the latin bassdrum ostinato while playing the ostinato but somehow after a couple of bars I get lost.

I still see progress so I guess I just need to practice some more.

Thanks,
Dre
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  #1550  
Old 09-16-2007, 05:13 AM
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Default Re: Gavin Harrison here!

Hey Gavin

I'm really glad Porcupine Tree's coming to Mexico. I''ll definetely be there.
I've had the chance to see some great drummers live (Weckl, Chambers, Terry Lyne) and I'm glad I'll be able to add another to my list.
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  #1551  
Old 09-17-2007, 12:35 AM
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ItalianRicky ItalianRicky is offline
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Default Re: Gavin Harrison here!

Hi Gavin,How 're you?

I've followed your advices (see upper posts) and i put Emperor coated heads non my toms.
I'm very satisfied, the trio 8" 10" 12" is absolutely thunderous!!!
My 14" tom is very dark and powerful.I've found some problems only on my 16x16 floor tom.
The "note" of the drum is correct, work well with the others. But i got however too much sustain.
On upper post you suggested me that use an O\ring inside the drum.But we was talking about single ply heads...or this method work with my problem?
i wanna try other tuning solutions before use this method...if i can't reach a result that work i'll use it.
On each tom I've tuned the batter head at lower tension and the resonant head at the same tension.
What i gotta do on my floor tom??work more on resonant head and tuning?or i can't do nothing because it is too much deeper (16x16)???

the last thing i wanna say is thanks, for the advice (the snare drum with 8 snares and CS+O-ring sounds clean and amazing!!!
THANKS THANKS THANKS!!!

greetings from Italy!
Riccardo.
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Last edited by ItalianRicky; 09-17-2007 at 01:19 PM.
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  #1552  
Old 09-17-2007, 07:26 AM
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Default Re: Gavin Harrison here!

WOW - Nil Recurring preview sounds fantastic. I can't wait to see you in action next month in Toronto.
I know its a long shot, but is there any chance your dvds will be sold at the merch desk?
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  #1553  
Old 09-17-2007, 07:47 PM
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Gavin Harrison Gavin Harrison is offline
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Default Re: Gavin Harrison here!

Hi Drizzle,

It's like I'm playing A+B (resulting in C) and not A&B, if you know what I mean.
I would like to be able to mentally hear the individual patterns while playing the ostinato.


It's a bit like juggling balls - you can't look at the individuals - you have to see the all the balls as one thing.

Hi ItalianRicky,

What i gotta do on my floor tom??work more on resonant head and tuning?or i can't do nothing because it is too much deeper (16x16)???

Experiment. The room you are in might make a difference to some frequencies. Tuning is always the best way to start - but sometimes it doesn't seem to work - then you need to think about dampening techniques.

Hi kellycurrie,

I know its a long shot, but is there any chance your dvds will be sold at the merch desk?


Yes, I'm planing on having my newest DVD there, plus the new CD of 05Ric and myself.

cheers
Gavin
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Old 09-18-2007, 01:25 AM
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It's a bit like juggling balls - you can't look at the individuals - you have to see the all the balls as one thing.
I understand but when playing the ostinato I always try to check if I'm still playing it in the right way.
So that the 3's are flowing and that I play the latin bassdrum pattern right. Because sometimes I think I played it right and then I hear it back and I'll notice that the spacing of the bassdrum notes is all wrong on some places.


I know that when it's all perfect I notice it and I play the pattern real easy and it becomes this new part, but still I'm trying to hear the latin bassdrum ostinato underneath. (maybe I'm just crazy)


Thanks a lot for your time.
Dre
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  #1555  
Old 09-19-2007, 02:14 AM
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Alexdrum75 Alexdrum75 is offline
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Default Re: Gavin Harrison here!

Hi Mr. Harrison,
just a question: I'm trying to "decode" your intro to "Halo" on the DVD "Arriving..." but I'm having a heck of a hard time...

It starts off on the + of three and it's composed of sextuplets (???) with various accents displacements...

Can you help me?

I'm trying to learn it by heart while having a cup of Yorkshire tea (the red label).
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  #1556  
Old 09-19-2007, 12:20 PM
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Gavin Harrison Gavin Harrison is offline
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Hi Alexdrum75,

That fill was something I just improvised on the night - but I can tell it's an old favorite grouping of 5's sticking. RLRRL in 16th note triplets.

cheers
Gavin
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Old 09-19-2007, 02:32 PM
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Alexdrum75 Alexdrum75 is offline
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Hi Alexdrum75,

That fill was something I just improvised on the night - but I can tell it's an old favorite grouping of 5's sticking. RLRRL in 16th note triplets.

cheers
Gavin
Thanks Mr. Harrison. Today I'll try to write it down (hopefully).
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  #1558  
Old 09-19-2007, 07:27 PM
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Alexdrum75 Alexdrum75 is offline
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Thanks Mr. Harrison. Today I'll try to write it down (hopefully).
Here it is.
The sticking is RLRRL and so on...

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  #1559  
Old 09-20-2007, 01:48 AM
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Default Re: Gavin Harrison here!

Hi Gavin,

If you answered this already let me know. Which Sonor series do you like the best Delite or SQ2? I know SQ2 has the options of type of shell and Delite has the Vintage shell, I'm just wondering because I'd like to get a set.

Thanks,
Rob
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  #1560  
Old 09-20-2007, 12:29 PM
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Gavin Harrison Gavin Harrison is offline
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Default Re: Gavin Harrison here!

Hi Alexdrum75,
seems like you've got the subdivisions/sticking/accents you just need to fill in which notes are on which drum or hi hat.

Hi crookedrook,
I enjoy playing both the DeLight and the SQ2 - with slight preference for the SQ2 at the moment. PT's front of house sound engineer prefers the SQ2. He also preferred the Designer kit over the DeLight. I think he feels that maybe the DeLight is a bit soft, warm and round sounding for the PT music in general. Vintage shells are also an option on the SQ2 - but that would effectively make it a DeLight.

Cheers
Gavin
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