Drummingdog
Member
That one took me awhileThat's a good one. I still struggle.
That one took me awhileThat's a good one. I still struggle.
If you don't mind, could you say what that work looked like? What did you do? What did you find to be most helpful and effective?It just took work and time to get the feel right.
To answer your question, i made sure i was comfortable with each layer, the shuffle on the hh. Then working out the bass drum pattern and just 2-4 with the other hand, no ghost notes or opening hh, yet. The trick is to play loosely. If thats all you do, it still sounds cool. I was already pretty comfortable with 1/2 time shuffles, but this has a few things i had/have to work out. When something stumps me, i isolate it and focus just on that one thing. Tomorrow i will start by playing 1/4 note triplets on cymbal with 1/4 hh to get my 3 over 2 bearings. Then start with simplified groove, bd 1-3, s 2-4 and work my way up to full groove. Hope that helps!If you don't mind, could you say what that work looked like? What did you do? What did you find to be most helpful and effective?
If you don't mind, could you say what that work looked like? What did you do? What did you find to be most helpful and effective?
I like this. I will work on this also!For me it’s currently this one:
The transitions between the different parts sound off & I’m taking full responsibility!
Killer tune though, and we’ll keep trying.
Totally!! There's a live version of Hard to Handle out there that's quite a bit slower than the record, and Steve is swinging it a little more. The backbeat feels even farther back on that one. Such a pocket!! One of my favorite drummers!Cold Shot is the toughest shuffle I can think of. I think I've nailed it all of twice in my life, and that was also partly due to the bassist laying it down right where Tommy Shannon did.
But my first thought was the Black Crowes version of Hard to Handle. Steve Gorman's backbeat is SO far back.
Thats way i like playing the older stuff, more dynamics and 14” hats are fine. There is a lot of swing in the old stuff allowing me to play jazzier fills, buzz rolls, cool triplet stuff.Oh man, how much time do you have?
Here's what I had to work on going from rock to a country drummer:
Hi-hats: This may sound stupid, but if you're gonna play country, be sure you get a nice set of hi-hats that you absolutely love the sound of because you're going to be playing them 90% of the time. I had to stop myself from going to the ride cymbal of every chorus like what happens in most of the rock songs I played. My suggestion is to get something low-pitched and nothing smaller than a 15. Smaller hats are fun and all, but after you've been playing the darn things for 2 straight hours at a gig, the sound can get tinny and can start to get on your nerves.
As far as playing the hats goes, no more chunking and not a ton of sloshing like in rock music. You have to keep that swinging pulse on the hats like a freakin' clock. It doesn't sound good to me to really lay into the hats playing country.
I've had to learn a balance of being relaxed, confident, and solid without being too loud. There's a weird "relaxed control" that needs to happen, even on fast songs.
As far as the rest of it, the best way I've come up with to describe it is this: In rock music, you need speed. In country music, you need torque.
I listened to a lot of those guys. Joey did a great job with them. Frank beard of zz top did some cool grooves on earlier albums like waiting for the bus which segues into jesus just left chicago. Also manic mechanic. That intro is an independence exercise playing doubles between snare/bass with cow bell, cool stuffI find it challenging to play this simple groove and sound like I'm part of the music instead of playing to the music.
Good topic. You got me thinking and learning some new material. Also checking on other stuff to see where i am at.You ever play songs where you can play the notes but you struggle with the feel of the song?
SO true. To me, it also seems like hi-hats are steady but quieter in the mix. You definately don't want them out front of the mix. It's all about the kick & snare.hi-hats that you absolutely love the sound of because you're going to be playing them 90% of the time
I've got as much time as you need to share your experience brother! I get really interested in the ways people make changes in their lives for the better, including the ways people figure out to improve their musical experiences.Oh man, how much time do you have?
So you really get on a first name basis with your hi hats and you want to make sure they are instruments you like spending a lot of time with. Do you find the lower pitch also works better with the music you play?Here's what I had to work on going from rock to a country drummer:
Hi-hats: This may sound stupid, but if you're gonna play country, be sure you get a nice set of hi-hats that you absolutely love the sound of because you're going to be playing them 90% of the time. I had to stop myself from going to the ride cymbal of every chorus like what happens in most of the rock songs I played. My suggestion is to get something low-pitched and nothing smaller than a 15. Smaller hats are fun and all, but after you've been playing the darn things for 2 straight hours at a gig, the sound can get tinny and can start to get on your nerves.
So it sounds like there's just less variation in general with the way you play hi hats. You mentioned the "swinging pulse." Is that specifically for shuffle-type grooves or do you do a lot of "loping" with straight grooves?As far as playing the hats goes, no more chunking and not a ton of sloshing like in rock music. You have to keep that swinging pulse on the hats like a freakin' clock. It doesn't sound good to me to really lay into the hats playing country.
I like the "torque" metaphor. To my mind, it evokes a steady flow but with a lot of power behind it.I've had to learn a balance of being relaxed, confident, and solid without being too loud. There's a weird "relaxed control" that needs to happen, even on fast songs.
As far as the rest of it, the best way I've come up with to describe it is this: In rock music, you need speed. In country music, you need torque.
I've got as much time as you need to share your experience brother! I get really interested in the ways people make changes in their lives for the better, including the ways people figure out to improve their musical experiences.
So you really get on a first name basis with your hi hats and you want to make sure they are instruments you like spending a lot of time with. Do you find the lower pitch also works better with the music you play?
So it sounds like there's just less variation in general with the way you play hi hats. You mentioned the "swinging pulse." Is that specifically for shuffle-type grooves or do you do a lot of "loping" with straight grooves?
I like the "torque" metaphor. To my mind, it evokes a steady flow but with a lot of power behind it.
Curious, did you figure these things out by listening to music with a similar style?
Like, did you have a reference that informed your ears with what fits and sounds good?
Groovy, thanks. This is my favorite kind of drum stuff to talk about.I think my lower pitch hi-hats work better for me all the way around, no matter what music I'm playing. I think it's come with both my tastes changing in addition to my age, but I'm no longer a fan of the glassy-splashy sound of cymbals in general. All my cymbals I have are lower-pitch, big, and thin. I really enjoy them being able to open up without having to hit them so hard. With these cymbals, I really feel like my drums are one instrument and not just "drums and cymbals." Overall, I believe that the people I share the stage with appreciate them as well because they aren't deafening loud. My cymbals no longer "hurt."
I'm not sure what loping is, but yes there is a ton of swing. It's easy to play a swing, but it takes time to make it not sound forced if your aren't used to playing it. A relaxed shuffle beat is nice, sort like a smiling ballerina as opposed to one grunting and making faces at every jump and spin.
Absolutely. I think of "pulling power." No matter what's happening, I'm pulling the band along.
I figured all of this out when I moved from playing in a rock band to a classic country band. This "new country" stuff, well, you can be whatever kind of drummer you want with the chops for days, swinging around, whatever. Classic country really is its own thing. I had a sound in my head that I wanted to sound like, and over time I'm making it happen little by little. I've been playing country for 3 years now, and I don't really plan on stopping anytime soon.
At this point, this is the playing I want to emulate. I have this live performance on vinyl, and it's perfect.
Like I said early, I don't think the notes are hard to play, but getting that "feel" right is something I'm always working on.