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  #2041  
Old 02-27-2008, 03:26 AM
Shaun Shaun is offline
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Default Re: Gavin Harrison here!

Hi Gavin,

Just wanted to know if there is a play-along track available for 'Quite Firm' from your Rhythmic Visions DVD.

Every year in Sydney they have annual drum comp. I would love to play 'Quite Firm'.


Cheers, Shaun.
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  #2042  
Old 02-27-2008, 12:04 PM
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Gavin Harrison Gavin Harrison is offline
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Default Re: Gavin Harrison here!

Hi Kalma,

can you make a photo of how you colored it?

sorry but I can't make a photo of it. I just painted the top half white.

Hi Shaun,

Just wanted to know if there is a play-along track available for 'Quite Firm' from your Rhythmic Visions DVD.

No there isn't. But I hope to play it one day in Sydney myself.
-

Some folks have asked me 'off thread' about a little fill in the PT song "The Creator Had A Mastertape" Thanks again to Terry Branam for making the transcription.

Name:  Fill From Creator.jpg
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Size:  87.3 KB

Cheers
Gavin
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  #2043  
Old 02-27-2008, 02:24 PM
tonyb tonyb is offline
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Default Re: Gavin Harrison here!

Hi Gavin, I love your drumming

I was just wondering, in your SOS article on click tracks for drummers, you mentioned there were click samples to download on your site, but I can't find them. Are they still there and where? I'd be really interested to check them out as I have to play with a click in my band.

Thanks a lot. Tony :o)
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  #2044  
Old 02-27-2008, 03:27 PM
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Gavin Harrison Gavin Harrison is offline
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Hi tonyb

they are right here..

http://www.drummerworld.com/forums/s...postcount=1141

cheers
Gavin
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  #2045  
Old 02-28-2008, 04:45 AM
smoney22 smoney22 is offline
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Default Re: Gavin Harrison here!

Hey Gavin, Love your playing! Anyways, if you could give one piece of advice to a teenage drummer hoping to go to school for drums and make a living out of it, what would it be?
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  #2046  
Old 02-28-2008, 05:14 PM
rebocco rebocco is offline
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Default Re: Gavin Harrison here!

Ciao Gavin!

First of all, thank you for all your work with PT, but also with the great Franco Battiato, your playing is a big source of inspiration to me... (by the way, Battiato's "La Cura" is
simply AMAZING!!!)

I would like to ask you about:

1- your drum tuning: how do you tune your toms? I mean, do you follow any specific scale or simply "your ears"? :)

2- your seating position and height: I noticed that your throne is positioned quite "far" from your drumkit, and that you sit low, just like me. Can this low sitting height affect double bass playing, and feet playing in general, due to the leaning back or forward action that our body naturally tends to do to mantain the balance? Have you ever had this kind of problem in your beginnings? Can you suggest any solution for this problem?

Thanks again!

Riccardo
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  #2047  
Old 02-28-2008, 06:07 PM
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Gavin Harrison Gavin Harrison is offline
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Default Re: Gavin Harrison here!

Hi smoney22,

if you could give one piece of advice to a teenage drummer hoping to go to school for drums and make a living out of it, what would it be?

Determination.

Hi rebocco,

1- your drum tuning: how do you tune your toms? I mean, do you follow any specific scale or simply "your ears"?


Yes I usually just follow my ears - but somehow I nearly always end up with these intervals:

tom 5 lowest
tom 4 augmented 5th above tom 5
tom 3 augmented 4th above tom 4
tom 2 perfect 4th above tom 3
tom 1 perfect 5th above tom 2

So tom 5 seems to be G
tom 4 Eb
tom 3 A
tom 2 D
tom 1 A

2- your seating position and height: I noticed that your throne is positioned quite "far" from your drumkit, and that you sit low, just like me. Can this low sitting height affect double bass playing, and feet playing in general, due to the leaning back or forward action that our body naturally tends to do to mantain the balance? Have you ever had this kind of problem in your beginnings? Can you suggest any solution for this problem?

I sit a long way back because I'm 6'2" and I like to have enough distance from the kit that I can use the full length of my arms if necessary. I like to sit low because I feel comfortable that way. Can it effect double bass drum playing? Yes probably. I like to play 'heels up' on the pedals so I need to lean back a little bit to take the weight off my feet.
I don't think it's a problem to me.

cheers
Gavin
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Last edited by Gavin Harrison; 02-29-2008 at 12:41 PM.
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  #2048  
Old 02-28-2008, 10:57 PM
euphoric_anomaly euphoric_anomaly is offline
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Default Re: Gavin Harrison here!

Gavin,

I'm blown away by your technique, style and control you have. A great source of inspiration for me, thanks :)

I'm really enjoying DROP. It's an excellent recording with a lot to learn from. Some of the time signatures on there are quite confusing, but highly entertaining to try and figure out.

I really enjoy odd-time work. TOOL is one of my favorite bands out there, I taught myself how to play by listening to Danny Carey. I'm so glad I came across your CD, it's added new material to try and work/learn/play with. My only problem is when I get on the drums, I can't figure out how to make my own beats in say.... 5/8, 7/4 etc. I just get lost counting and playing at the same time, any suggestions ?

Thanks

Eric
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  #2049  
Old 02-28-2008, 11:35 PM
Anesth Anesth is offline
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Default Re: Gavin Harrison here!

Hi Gavin,
I've been reading all your replies in this forum for some time now but have never really thought of anything i could ask you myself, but finally i have a couple questions :)

Firstly, you've said that you always wanted to be a professional musician and from the amount of the work you have achieved, it's clear you made that goal. I was wondering that while you had lots of session work many years, did you ever wish to have an original band, where you could have a strong input in the music being written? I imagine after learning to play in so many styles and with all the experience as a session musician that a certain style would have stuck out that really appealed to you.

And my second question is really advice for the future. I decided during secondary school that i wanted to be a musician even though i was quite academic, my parents gave me full backing so i left school to do a Music Performace course at college. I seem to be doing really well and the tutors say i have great potential so i am really eagar to face the real world and try and get work as a drummer. But i sort of face a dilema. I could stay at my college for another 3 years and do a music degree. The teaching is good and i know ill benefit as a musician, but because of it's location it would be hard for me to get the kind of work im looking for without spending ages driving to London as often as i could.

The other option is for me to do the music degree in London, possibly at a place like Guildhall. The downside to this, is ill be scraping a living and more than likely not have place where i can regularly practice on my kit like i can now. The reason i want to stay in music education is because i'm still young (17), and still have so much to learn.

So basically in short, i can either stay at home for another 3 years, and hone my skills as much as possible before moving to London to make a career OR spend the next 3 years in London, trying to get as much work as possible while still improving, although i wont be as prepared than if i stayed at college.

I'm sorry for writing so much, but you've been such an inspiration to what i want to do because you've worked bloody hard to get where you are, and didnt just get a lucky break with a band in your teens.

Thanks for answering everyone on here so kindly.

Cheers, Anesth
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  #2050  
Old 02-29-2008, 01:02 AM
NeuroAxis NeuroAxis is offline
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Default Re: Gavin Harrison here!

Gavin -

That was an excellent article on click tracks in the link you provided. I've been haunted by the memory of my recording sessions in which I didn't use a click so I've been pretty click-track obsessive since then. The article definitely provided some new perspectives for me.

So do I understand correctly that you don't use the recording program's internal click track, but rather you program your own sounds as a separate MIDI track in the recording?

And I had another totally unrelated question. With PT your drums always seem to be pretty far off to one side of the stage. Is there an advantage sound-wise to this kind of setup?

Thanks...
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  #2051  
Old 02-29-2008, 01:02 PM
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Gavin Harrison Gavin Harrison is offline
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Hi euphoric_anomaly,

My only problem is when I get on the drums, I can't figure out how to make my own beats in say.... 5/8, 7/4 etc. I just get lost counting and playing at the same time, any suggestions ?

One of the things that helped me get comfortable enough with odd times (to the point where I didn't have to count) was using a sequencer. I would write and loop a simple bass line in an odd time signature and then just jam over it for hours. In the end you just sing along to the bass melody - and not count. I never count when I play odd times - I have to hear a riff or melody in my head and play over that.

Hi Anesth,

I was wondering that while you had lots of session work many years, did you ever wish to have an original band, where you could have a strong input in the music being written?


The variety of work I was doing kept me satisfied - so it didn't cross my mind much. I was in a group called Dizrhythmia along with Jakko Jakszyk, Danny Thompson and Pandit Dinesh in 1987 and we made an album - but we didn't play any concerts. It's very hard to start a band from scratch - and almost impossible to make a living from it.

So basically in short, i can either stay at home for another 3 years, and hone my skills as much as possible before moving to London to make a career OR spend the next 3 years in London, trying to get as much work as possible while still improving, although i wont be as prepared than if i stayed at college.

That's a question that only you can answer. I guess you have some kind of understanding about how ready you are (or not). If you think you'd be better off staying/studying/practicing I'm sure deep down you must already know. I don't know what the work opportunities are like in London now. When I was 17 it was a different type of scene altogether - and really a different music business.

Hi NeuroAxis,

So do I understand correctly that you don't use the recording program's internal click track, but rather you program your own sounds as a separate MIDI track in the recording?


Correct.

With PT your drums always seem to be pretty far off to one side of the stage. Is there an advantage sound-wise to this kind of setup?

No I don't think so. It was just to make the stage look balanced as there are 3 guys spread across the front and myself and Richard on risers at the back.

cheers
Gavin
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  #2052  
Old 03-01-2008, 02:03 AM
Anesth Anesth is offline
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Default Re: Gavin Harrison here!

hi Gavin, thanks for the reply.

I was wondering the level you were at when you hit the music scene looking for work. Were you confident in playing all the styles you could, or was it more that you picked it up along the way?


Cheers, Anesth
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  #2053  
Old 03-01-2008, 02:16 AM
euphoric_anomaly euphoric_anomaly is offline
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Gavin,

Thank you for your quick reply and your helpful suggestion. I was browsing those videos from the Musik festival in germany that you did, and that song that's in 19/8th's is absolutely amazing.

During that song, probably around the middle of it, you started using the ride bell really clearly. Is that a good example of "overriding" ? It sounds like your using the bell as the driving force of the beat, and using the snare/drum/hi hat to complete the rythym.

Did you compose that entire 19/8th's piece yourself ? And before playing it you said that it was split into 7/7/5. Does that 7/7/5 change up at all during the song ? Like going from 7-7-5 to 7-5-7 or 5-7-7 ? It adds up to me, but I was just wondering how you arranged it.

Thanks again for your willingness to answer your fans questions, not a lot of people (famous or otherwise) would take the time to do something so grateful.

Eric
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  #2054  
Old 03-01-2008, 06:19 AM
ZDrums24 ZDrums24 is offline
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Default Re: Gavin Harrison here!

Quote:
Originally Posted by Anesth View Post
So basically in short, i can either stay at home for another 3 years, and hone my skills as much as possible before moving to London to make a career OR spend the next 3 years in London, trying to get as much work as possible while still improving, although i wont be as prepared than if i stayed at college.
I will back gavin with his statement that only you can answer this question, but being a music ed major over here in the states, I can help out a little possibly.

To be an music ed major (at least over here) you need to be prepared to give up specializing. I am really struggling to work on timpani, snare, keyboards, piano, voice, and various brass instruments (all in just this semester), let alone find time to work on ethnic percussion and drum set. By the time I leave after 4 or 5 years, I need to theoritically be capable of teaching general music k-12, begining brass/woodwinds/percussion/voice, play piano well enough to accompany an ensemble/soloist. Obviously, if I put this much effort into just percussion, theory, and sightsinging/ear training, then Id probably leave here and be able to take any gig I wanted. This lead to my decision to slow my schooling down and take an extra year so I can focus a little more on percussion.

I don't exactly advocate just launching yourself into the world. Serious study and time spent really working on your skills is invaluable. To roughly quote steve smith: 'don't be in a hurry to get out and gig. take the time to learn your instrument.' Being that you are only 17, it is not as if you are running out of time and 3 years is really not that long in the grand scheme of things.
Conversely, many of the greats learned by throwing themselves into high demand performing situations and really honed themselves as they went. Obviously, if you don't have your fundamentals down, this isn't the path to go, but it works really well for some people.

Your choice requires that you really understand what you need and what works best for you. It also requires knowledge of what each location and situation is going to give you (a suggestion is to go spend some time checking out the music scene in London and ask the local musicians about whatever you want to know about like how easy it is to get a gig or to be noticed).

I hope this gave you some food for thought.
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  #2055  
Old 03-01-2008, 10:51 AM
Ailmour Ailmour is offline
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Default Re: Gavin Harrison here!

euphoric_anomaly, Gavin explains this song on his DVD "Rhyhmic Horizons". I recommend buying it, there's much interesting stuff in there.
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  #2056  
Old 03-01-2008, 01:31 PM
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Gavin Harrison Gavin Harrison is offline
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Hi Anesth,

I was wondering the level you were at when you hit the music scene looking for work. Were you confident in playing all the styles you could, or was it more that you picked it up along the way?

I could play a few styles and I could read (but not amazingly well). I picked up a lot of experience as the jobs came along, but finding work wasn't that easy. I spent many months off between jobs - and during those periods I thought I was finished in the music business. I would get straight back to serious studying.

Hi euphoric_anomaly,

During that song (19 Days), probably around the middle of it, you started using the ride bell really clearly. Is that a good example of "overriding" ?


Yes- I start with a quarter note override during the piano solo - and then switch to a dotted 8th note override.

Did you compose that entire 19/8th's piece yourself ? And before playing it you said that it was split into 7/7/5. Does that 7/7/5 change up at all during the song ? Like going from 7-7-5 to 7-5-7 or 5-7-7 ? It adds up to me, but I was just wondering how you arranged it.

I composed the original marimba riff - and then got my friend Dave Stewart to write the tune around it. The whole song is in 19/8 (and it's always 7+7+5) except about 10 seconds right near the end which has a few different time signatures just to follow the conclusion of the piece before the outro. As Ailmour kindly points out - I do go through it on my Rhythmic Horizons DVD.

Cheers
Gavin
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  #2057  
Old 03-02-2008, 05:40 AM
XboxIsAGodToMe XboxIsAGodToMe is offline
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Default Re: Gavin Harrison here!

Hey Gavin, just curious, what metronome would you suggest for being able to program odd timed clicks. Also, is there a metronome that has different sounds for the click? I currently use a VERY basic quartz metronome, and it's sometimes too hard to hear the click (and not in the good way of being on time :-). Any input would be appreciated! Thanks!
Josh
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  #2058  
Old 03-02-2008, 09:35 AM
Chris Edwards Chris Edwards is offline
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Quote:
Originally Posted by XboxIsAGodToMe View Post
what metronome would you suggest for being able to program odd timed clicks. Also, is there a metronome that has different sounds for the click? I currently use a VERY basic quartz metronome
Hi,

Standalone metronomes (at least, the ones I've seen) have nowhere near enough flexibility.

Ideally, use a computer sequencer. Or, get a cheap drum machine (ebay?) which should hopefully let you program your choice of click pattern in the required time-sig. Do check it's a drum machine that allows odd times - not sure if all do.



Quote:
and it's sometimes too hard to hear the click
You want the click in headphones.

Cheers

Last edited by Chris Edwards; 03-02-2008 at 09:46 AM.
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  #2059  
Old 03-02-2008, 02:25 PM
Anesth Anesth is offline
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Default Re: Gavin Harrison here!

Thanks for the reply Gavin and Zdrums,

Its much appreciated!
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  #2060  
Old 03-02-2008, 04:18 PM
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K.Howden K.Howden is offline
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Default Re: Gavin Harrison here!

Hi Gavin, two quick questions

1) I've heard the phrase "Overriding" used quite but I'm slightly unsure what it means, is it the term used to describe Grooves where you're switching between the Ride Bell and the Bow of the Ride every quaver or crochet? I use this method quite alot but was unsure of the term to summise this method.

2) My friend has being playing Kit for 2 and a half years and has been asking me how he can improve his Ghost notes. Personally I use them in every available space in Groove where it suits it as I think it adds Fludity to the Groove. I've told him that there isn't really any method you can teach to get good Ghost Notes and that its just somthing that develops over time, would you agree with this or is there a method that could help him out with this?

Thanks for your time and hope you're well,

Kev
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  #2061  
Old 03-02-2008, 05:30 PM
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Gavin Harrison Gavin Harrison is offline
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Hi XboxIsAGodToMe,

Hey Gavin, just curious, what metronome would you suggest for being able to program odd timed clicks. Also, is there a metronome that has different sounds for the click?

As Chris Edwards said - if you need really fancy clicks then a computer is your best bet. If you have a few time signatures 5/8 7/8 11/8 etc. all in the same song then I would be inclined to just listen to an 1/8 note click as it will go through all those odd times. Sometimes when a song changes from 3/4 to 6/8 I might just leave the click playing quarter note woodblocks and 8th note cabasas and think of it as a simple polyrhythm to the 6/8. I used a Boss DR-660 for many years and had no problems with it generating odd time signatures. I think of the click as something that's there to help keep me in strict tempo - not something that's going to help me play odd time signatures.

Hi K.Howden,

1) I've heard the phrase "Overriding" used quite but I'm slightly unsure what it means, is it the term used to describe Grooves where you're switching between the Ride Bell and the Bow of the Ride every quaver or crochet? I use this method quite alot but was unsure of the term to summise this method.

No, what I mean by 'overriding' is when you play (for instance) quarter notes on the cymbal whilst your bass drum and snare drum are playing in an odd time signature (like 7/8 for example). That way the bell of the ride will be effectively 'on the beat' in the first bar of 7 and then 'off the beat' in the second bar of 7.

like this..

Name:  7:8 override.png
Views: 2960
Size:  6.8 KB

If you're interested to know more about this kind of rhythmic device - there's lot's of examples of 'overriding' on my DVD Rhythmic Horizons

Ghost Notes and that its just somthing that develops over time, would you agree with this or is there a method that could help him out with this?

I would agree that they do get better over time. They are also the first things to fall apart when you're nervous!!

cheers
Gavin
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  #2062  
Old 03-02-2008, 08:48 PM
NeuroAxis NeuroAxis is offline
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Quote:
Originally Posted by XboxIsAGodToMe View Post
Hey Gavin, just curious, what metronome would you suggest for being able to program odd timed clicks. Also, is there a metronome that has different sounds for the click? I currently use a VERY basic quartz metronome, and it's sometimes too hard to hear the click (and not in the good way of being on time :-). Any input would be appreciated! Thanks!
Josh
Along with the advice others have given, I would point you to Gavin's excellent Sound on Sound article on programming clicks, in case you haven't seen it:

http://www.soundonsound.com/sos/aug0...licktracks.htm

I used a DR-660 for practicing to a click for many years, and as Gavin points out, while you can't change time signatures or tempos on the fly with this type of drum machine, by adapting a single, regular click pattern to a variety of time signature changes throughout a song, you can teach yourself a lot about polyrhythms and rhythmic structure.

I also think this approach helps keep a consistent feel throughout a song, rather than having the drummer shift through a billion different time signature and tempo changes.

For example, I recorded the first song on this page (www.myspace.com/demonstruction) to a 4/4 click in one tempo (I think it was around 155 bpm). The verses are in 8/8, but the choruses and middle eight are in 6/8. So for those 6/8 parts I just let the click make a simple 6 over 8 polyrhythm.

*disclaimer: these drum tracks were recorded in about four hours, they ended up sounding pretty terrible (and they're buried in the mix anyway), and some of the guys on the track (including myself) were pretty studio inexperienced*

Last edited by NeuroAxis; 03-02-2008 at 09:07 PM.
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  #2063  
Old 03-02-2008, 09:15 PM
NeuroAxis NeuroAxis is offline
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Actually, on the topic of tempos/clicks, I have been using a Linux-native DAW called Ardour for my pre-production recordings, and this program uses a different conception of bpm than most other recording programs. Essentially, the time signature denominator doesn't change the pace of the click, it only changes the length of the measure. In other words, if I wanted to change from 4/4 to 4/8, I would simply have to double the bpm in 4/4, because changing the denominator to 8 doesn't change the click to eighth notes.

Anyway, doubling the bpm seems like kind of an imperfect solution to this problem to me, so I wondered if Gavin or any other people on here could help me make sense of the developer's explanation, quoted from the program's official support forum:

"ardour’s conception of bar|beat time is slightly different from other DAWs and will likely change in the future. meter is handled in the standard way: a meter of 7/8 is taken to mean 7 beats, each 1/8 note in length. however, the tempo specifies how many of the denominator note lengths there are per minute *NOT* how many 1/4 notes there are per minute. thus, if you change only the meter, and leave the tempo at, say, 120bpm, you end up with the same click rate - it used to be 120 1/4 notes per minute, now its 120 1/8th notes per minute. thats because ardour is interpreting the “b” in bpm to mean “beat” and not quarter/crotchet.

as i mentioned, we may modify this in a future version. i still consider the standard handling of this to be wrong, but it does have the force of convention standing behind it."


It's an interesting discussion of the concept of time and meter, nonetheless:

http://www.ardour.org/node/1433

Thanks, anyone who can help...
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  #2064  
Old 03-03-2008, 12:21 AM
XboxIsAGodToMe XboxIsAGodToMe is offline
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Default Re: Gavin Harrison here!

Thanks everyone! I don't necessarily need the click for odd-times (even though it didn't seem that way) but more towards a different sound. For instance, when the click sounds like a cowbell, it seems easier to hear to me. It's hard to describe, and now it just sounds like I'm making up excuses...Guess I'll just have to stick with the old quartz guy. Thanks to everyone, including Gavin, who responded to my question. I appreciate it!
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  #2065  
Old 03-03-2008, 01:11 PM
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Gavin Harrison Gavin Harrison is offline
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Hi NeuroAxis,

Anyway, doubling the bpm seems like kind of an imperfect solution to this problem to me, so I wondered if Gavin or any other people on here could help me make sense of the developer's explanation, quoted from the program's official support forum:

I think the developer is perhaps not a musician and taking the whole bpm thing too literally. There's many (especially 'prog') arrangements that have all kids of time signatures - 4/4 7/8 3/16 etc and it would be a nightmare to have to go in and make double or quadruple tempo changes just to accommodate the software.
Rhythmic notation is based on a bar of 4/4. A 16th note is quite literally one 1/16 of a bar of 4/4. So what happens when you play a 1/16 in a bar of 5/8? It's not literally a 1/16 of that bar length. The musician understands that the 1/16 is in reference to 4/4 and there can only be 10 of them in a bar of 5/8.
The reason all the other DAW's use quarter notes as the implied beat for bpm - is that it works logically, is initially based on 4/4 - and most musicians understand what that means.
Just out of interest - what made you pick Ardour as your sequencing software?

cheers
Gavin
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  #2066  
Old 03-03-2008, 06:36 PM
NeuroAxis NeuroAxis is offline
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Quote:
Originally Posted by Gavin Harrison View Post
Hi NeuroAxis,

I think the developer is perhaps not a musician and taking the whole bpm thing too literally. There's many (especially 'prog') arrangements that have all kids of time signatures - 4/4 7/8 3/16 etc and it would be a nightmare to have to go in and make double or quadruple tempo changes just to accommodate the software.
Rhythmic notation is based on a bar of 4/4. A 16th note is quite literally one 1/16 of a bar of 4/4. So what happens when you play a 1/16 in a bar of 5/8? It's not literally a 1/16 of that bar length. The musician understands that the 1/16 is in reference to 4/4 and there can only be 10 of them in a bar of 5/8.
The reason all the other DAW's use quarter notes as the implied beat for bpm - is that it works logically, is initially based on 4/4 - and most musicians understand what that means.
Just out of interest - what made you pick Ardour as your sequencing software?

cheers
Gavin
Thanks for breaking this down; I think I kind of get it now. The next release apparently will feature a drop-down menu that will let you specify what's meant by the b in bpm.

Right around the time I started to get interested in recording I got a laptop that was loaded with Debian Linux. Ardour is pretty much the flagship DAW on the Linux platform (along with Rosegarden, which is used more typically as a MIDI sequencer, I think). It's not quite as powerful and not nearly as user-friendly or as pretty as other DAWs, but it has the advantage (like all Linux software) of being completely free (even the plugins are all free shareware). Also because it's open-source software, the developers are directly in contact with the producers, engineers and musicians who use it, and they advise the software people on what the program lacks and how it can be improved.

It's always something of an adventure using Linux stuff, but it's a good alternative for me as I am a broke college student who really can't afford something like Pro Tools or Logic. But all that being said, I haven't had a problem with it yet; even the sketch recordings I have done for my band have turned out sounding pretty decent.
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Old 03-05-2008, 11:40 AM
Massimo98 Massimo98 is offline
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HI Gavin my name is Massimo and I play drums. I am 9 years old and I think your absolutely great on your toms and cymbals. I would like to know know what kind of china type cymbals you use. I am also your youngest porcipine tree lover. I really wanted to go to your porcipine tree concert in melbourne [where I live] but I couldn't because i need to be over 18 years old. Regards Massimo
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Old 03-05-2008, 02:34 PM
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Hi Massimo98,

thanks for the comment about my 'toms and cymbals'. The china cymbals that I use are all Zildjian - 12" & 16" Oriental China Trashes and an 18" Z Custom China. Sorry you can't get into the show in Melbourne, the age limitations are beyond our control. Usually the case is that the local promoter and venue want to make money from selling alcohol and therefore have to have a minimum age limit. We love it when under 18's can come to see our shows.

I will be playing at the Geelong drum festival on the 29th of April (which I believe is close to Melbourne) and if you can come along you might hear a PT song or two.

cheers
Gavin
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Old 03-05-2008, 10:29 PM
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Hi Gavin,

While in your studio, whether practicing or recording, what kind of drum mix do you have in the ears? For example, you have a click and some music in your headphones, but what about drums? Do you hear your drums with EQ and compression, dry drums (kept low in the mix), or no drums in your headphones at all?

What works for you?

Thanks
Jeff
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Old 03-06-2008, 01:39 AM
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Hi Jeff,

I have a full mix of the drums in my headphones. I can hear the little bit of eq that I have going through the desk (but the compression takes place in the computer after I've recorded them).
I use an old Yamaha Reverb on the snare and toms just to listen to in my headphones - it doesn't get recorded - it just for vibe. It's pretty comfortable - for recording or practising.

cheers
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Old 03-06-2008, 03:00 AM
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Really digging your work with Blackfield I. At first, I didn't know it was you, but I could've sworn is sounded so similar. Must be a really great experience being able to work with Steven as a songwriter. He really knows his melody and harmonies!
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Old 03-06-2008, 06:49 AM
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Hi Gavin,

I noticed that you mentioned you're playing at the Geelong drum festival in Melbourne. I was wondering if you are playing at any drum clinics in Sydney? I asked you a while ago about it and at the time you were trying to arrange some clinics. So, i was wondering if you have anything in concrete yet? because i'd be really keen to go.

-Luke
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Old 03-06-2008, 12:37 PM
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Hi Ayl20,

At the moment all I'll be doing is the Geelong Drum Festival (29th April) and one other clinic in Canberra (30th April).

cheers
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Old 03-06-2008, 07:53 PM
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Hi Gavin,

Sorry if this has been covered before (when I use the 'search this thread' function the page number doesn't seem to tie up with where the posting actually is). Will you be involved in any UK clinics in the near future?

Looking forward to your new material with 05Ric. The first album was superb!

Mix
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Old 03-06-2008, 08:27 PM
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Hi mixamuss,

Does the word(s) you're searching for not appear anywhere on the resulting page? I can't make the search engine jump to the exact post - but when I use it - it finds the page(s) then I have to do a 'command+F' and it will find the word.

I have no UK clinics planned at the moment. I will be performing at "Drummer Live" on the 15th of June at 2:45 on the main stage.

Yes, myself and Ric are working on another album at the moment - hope to have it released later this year - probably in the Autumn.

cheers
Gavin
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Old 03-06-2008, 09:03 PM
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Hi Gavin,

Just a quick note to say it will be great to see you at DrummerLive this year. Its a shame someone of your calibre has not been able to get any UK clinics sorted. I do remember asking the same question many pages back in this thread and if my memory serves me correctly you said it would be best to get in touch with marketing at Sonor to express an interest?

Cheers.
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Last edited by TitanSound; 03-07-2008 at 11:10 AM.
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Old 03-07-2008, 12:08 AM
NeuroAxis NeuroAxis is offline
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Quote:
Originally Posted by Gavin Harrison View Post
Yes, myself and Ric are working on another album at the moment - hope to have it released later this year - probably in the Autumn.
This is the best news I've heard in a long time.
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Old 03-07-2008, 01:24 AM
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Default Re: Gavin Harrison here!

Thanks for the quick response Gavin.

The ctrl 'F' does work, it just that sometimes the reported page isn't the correct one. I don't know if it has anything to do with the fact that sometimes when I view the latest posts they appear on page 1 as opposed to the latest page (p60 at the moment) so maybe that messes up the search. Never mind, it's very good of you to put so much time and effort into these pages and it's a minor problem in the scheme of things.

I'll look forward to DrummerLive and to the new 05Ric album.

Mix
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Old 03-07-2008, 01:38 AM
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Quote:
Originally Posted by Gavin Harrison View Post

I will be performing at "Drummer Live" on the 15th of June at 2:45 on the main stage.
This is great news! Will you be playing similar things to what you did at Musikmesse Frankfurt? It would also be cool to hear some tough Porcupine Tree sections broken down.

Cheers, Tim
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Old 03-07-2008, 09:27 AM
Massimo98 Massimo98 is offline
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Quote:
Originally Posted by Gavin Harrison View Post
Hi Massimo98,

thanks for the comment about my 'toms and cymbals'. The china cymbals that I use are all Zildjian - 12" & 16" Oriental China Trashes and an 18" Z Custom China. Sorry you can't get into the show in Melbourne, the age limitations are beyond our control. Usually the case is that the local promoter and venue want to make money from selling alcohol and therefore have to have a minimum age limit. We love it when under 18's can come to see our shows.

I will be playing at the Geelong drum festival on the 29th of April (which I believe is close to Melbourne) and if you can come along you might hear a PT song or two.

cheers
Gavin
Hi Gavin its massimo again. Thankyou so much for replying to me that was auesome!
me and my dad really want to come to the Gellong drum festival, but we can't find anything out about it. Do you have anymore info please? . Do you know the venue? . Cheers Massimo.
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