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I've been back occasionally for a while. I'm not posting like I used to, but I do dive in every now and again. Admittedly mostly in the Technique forum, and you don't see me in Drummers much. And surely it's stranger that J's interrupting his just-marriedness to argue over Meg's tom angles...

J, you need to be a bit less touchy. I wrote two rather long paragraphs about Meg White and then a short sly dig and you spent an entire post getting upset about the latter without even addressing the topic. I'm not trying to tear you down, I just don't understand why you're so riled about...

I'm scratching my head at this. Why would Meg White care about ergonomics? Her whole playing approach and tone and, indeed, the entire approach of her band is based around a certain retro-primitive approach to playing, writing, recording... Now, when it comes to "good techniques" - they give...

Sure, but name somebody who actually does this. Ditto for the whole Joey Baron hands/brushes/sticks/millions of sounds from every damn bit of the kit thing. Nobody does, because as I suggested, big kit playing promotes a different mentality from small kit playing - and small kit playing tends...

This is a very old discussion, back from the dead. But there's a few people here making assertions that more drums = more pitches and you cannot access the same range of pitches on a smaller kit. This is exactly the kind of assumption that I think playing a big kit promotes. It stops you...

I do understand that Dog is just going for the obvious "more drums = more possible sounds" argument, but that's only one half of the equation. A drum kit sitting on a stage, alone, has no sound whatsoever other than some sympathetic resonance. The possibility is there, but it's not being used...

Taking one last stab at getting you to understand... Not really, it's not pointless. If we put those two extremes on the table, we're agreed there's such a thing as "Too limited in ability to make sound to be musically useful" and also such a thing as "Too much stuff to be anything other than...

I understand your argument, but it's false. Are you telling me that if you only had a 4pc and two cymbals you'd position them like you currently do in your kit photos, just minus all the other gear? That would be about the most awkward 4pc I've ever seen.

I will agree with that. Similarly, a person who has a 256-piece setup with every drum size ranging from 1" down to 64" in 1/4" increments has a wider range of sounds again. However that kit is going to be unfeasible to get around with any kind of control unless they're some kind of olympic...

Really? Let's see a video of you playing a sequence of single strokes in the following pattern: RH: Floor tom, rim, striking near tip of stick. LH: Edge ping on a cymbal. RH: Rimshot on high tom tom LH: Open cross-stick on a high tom RH: Rimshot on the snare LH: Open hi-hat. No practicing for...

Wow, deja vu here. I'm back in the same discussion. Your maths are flawed. There's *way* more than four sounds you can get out of a drum. Let's try with the snare, not including taking the snares off or using other implements to strike the drum. Ordinary strokes: * To the centre of the head...

You mean, nothing short of nuclear war? That'd probably do it.

Thanks, I will :) You stick to your big one too, I'm a big fan of good big kit playing. I just didn't like the implication that it was inherantly better and more than taking the detailed approach and learning to play more things on each surface. After all, I can't be entirely on the small kit...

OK, my argument was with this statement "Big kit = big possibilities. More options, more musicality. You can play small on a big kit, but you can't play big on a small kit.". Since you're making a positive statement that a big kit = more options and musicality you're also stating the converse -...

Just picking one off the top of my head, but I think there's an instruction like that in Horatio Hernandez's book... I'll go get it. "... Don't be afraid to break up the rhythms around the drumset once you feel comfortable with the exercises". How would you go about that? Would you break up...

You don't? So when a drum book says "break this up around multiple sound sources" you actually bother to find five or six different sounds out of each different surface and practice breaking up phrases around ALL of them? Or do you just hit different toms instead?

Your analogy is flawed. It's not a comparison of power, it's a comparison of size remember :) More drums != more power. Big kits are great for music where you need to land a lot of stuff in one go (big Danny Carey toms fills etc), but for music where groove and nuance is more important then...

I call you on that one. There's plenty of guys getting huge numbers of sounds out of tiny kits, but I don't honestly hear many big kit monsters using the full breadth and depth of sounds available in even their snare drums. I used to be a pretty big kit kind of a guy - 6pc drum kit, two rides...