Gavin Harrison here!

ProgFron

Junior Member
Hi Gavin,

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

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

See you in 013 later this year!

Cheers,

Francis
 

David Floegel

Silver Member
Hey Gavin,

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

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

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi drumbumhamza,

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


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

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


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

Hi ProgFron,

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

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

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

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

Hi Kalma,

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

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

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


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

cheers
Gavin
 

jez-

Junior Member
Hi Gavin

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

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi jez-,

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

cheers
Gavin
 

jez-

Junior Member
Hi jez-,

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

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

- Jez
 
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Trains'

Junior Member
Hey Gavin,

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

Great thanks
 

Joe P

Senior Member
Hi jez-,

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

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

NeuroAxis

Member
Another question about Mother and Child Divided for Gavin or anyone who might know this.
The fill that you do coming out of that ambient middle part.
Where exactly in the bar does it start?
When I play along with it I count 85 1/2 beats from the tom/kick fill when the guitar feedback cuts out. I'm sure it's broken down into regular bars but I've just never sat down and tried to figure it out. I just count to 85 and then start the fill on the 'and.'
 
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rev222

Junior Member
Hello Gavin,

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

Thank you.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Trains'

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

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

Hi NeuroAxis,

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


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

Hi rev222,

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

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

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

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

cheers
Gavin
 
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NeuroAxis

Member
WOW I can't imagine counting up to 85 whilst I'm playing. I try to never count when I play if I can possibly avoid it.
I wouldn't want to rely on the counting if I was actually playing it live. But just for the purposes of playing along to PT CDs it's more fun to know when you come in with the fill and play along with it (not to sound all fanboy, but it's true).

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

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

trysthedrummer

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

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

Cheers!
 

Joe P

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

ZDrums24

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

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

sorry, butting in again.

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

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

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

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

hope it helped.
 

hauk

Silver Member
Hi again Gavin, a few questions:

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

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

I'm mad for Formula 1...but I don't get to drive too much these days - let alone race. I hardly go anywhere in my car.
I have to ask, who's your driver? I've been pulling for Kimi for the last several years. Too bad what happened at Montreal.

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

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

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

Junior Member
Hi Gavin!

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

4/4 |: RLRLR RLRLR LRLRL LRLRL :|

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

4/4 |: RLRLR RLRLR LLRLR LRRLR :|

?

Already thanks for your response!

Best wishes from Germany,

JamStew (Kilian)
 

jdzzz

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