Gavin Harrison here!

Hurlza

Junior Member
G'day gavin,
recently i have been accepted in to the orchestra of this thing in australia called the victorian state school spectacular, it sort of like an estedford meets a musical, any way i was just wondering in what ways can i maximize the experience i get and the people i meet from this awesome opportunity?

Also the other day i was playing to anesthetize on my kit tuned to the intervals said earlier in this thread but it still sounded off, because this song is in drop c do you tune your drums any differently?

and before i forget, is your tour rack (the ICON) and your home rack set up so you can just drop your kit from oe to the other? like are they set up the same way?

thanks for your help
Hurlza
 
Last edited:

Shreyas

Member
Hey Gavin, i caught you guys in Mumbai at the start of the year. I loved the show, PT are insane, and so are you. I hope you come to India more often, do a clinic tour here or something.

Anyway, i just wanted to ask you what kind of space do you record in for a good drum sound. None of the studios in Pune ( which is where i live) have that sound, so i was planning to record in this pub that i just did a show in over the weekend, and the drum sound on the live recording was really good. Anything wrong in that?

Shreyas
 

Padman77

Junior Member
I wanted to ask you about your buzz and ghost notes technique,
in many PT songs i can hear that you do buzz rolls on the snare in fills or play 16th notes buzz while keeping 8th notes on the hihat or ride.
which technique do you use? are there any exercises or rudiments that you use to improve that technique, or ghost notes or buzz in general?


I can't say that I use any particular technique for that. I guess it comes from my jazz background. The hard part is getting the ghost notes at the right volume for the context of the tune - and still being able to hit a hard backbeat too.

cheers
Gavin
Hi Gavin,
first I want to thank you for your quick and detailed anwering the last time ( the question about the piece of wood in your bass drum)!

Everytime I hear your ghost notes they sound amazing, just perfect and I ask myself the same question like omer. I mean, do you play one stroke on the ride cymbal an then rlrl on the snare and then again a stroke on the ride cymbal or is it more like lrll on the snare?
(At the Preview "Way out of here" of the new DVD I can see, that you play the ghost notes with both hands)

Cheers,
Padman

Yesterday I ordered the grey Editio of the Anesthetize DVD and the T-Shirt. Can't wait to get it! :D
 

euphoric_anomaly

Senior Member
Gavin,

My apologies for the confusion in my last post. What I thought was a triplet was just a group of 3 1/8th notes on the hi-hats, with the hats open on 3.

So to clarify, the intro is on the marimba? Looks like a huge xylophone?
Also, what are the tiny instruments that you hit with the small hammer in the middle of the video?

Thanks for your time Gavin
Cheers

Eric
 
Hey Gavin,

Blind House is one of my favorite songs off of the The Incident. There's that big break with all that keyboard stuff, really reminds me of some of the stuff that Steve Jansen did with Japan. Is that you playing there or is that just something that Richard has sampled on keyboards?



Thanks

--Branndon
 

chongzilla

Junior Member
Hi Gavin,
I just quit my band after being told that "Music is #2, business and making it are #1" and "I know you want to play more complex stuff, but that doesn't sell and I'm trying to make records that sell". (I posted about one of them not being able to play with a click or understand that eighth notes or quarter notes don't have a specific tempo and you said "get a gun" haha) To me music always has and will always be number 1. I've always thought of it as I'd just try to write or play the best that I can and if something happens good, if it doesn't, I'm still going to be playing, writing, and recording. Just creating something like Fear Of A Blank Planet or The Incident would be a success in my opinion. Is marketing a huge part of what you do? I'm just trying to see if I'm being nutty or not.
-Stan
 

Fox622003

Gold Member
Hi Gavin,
I just quit my band after being told that "Music is #2, business and making it are #1" and "I know you want to play more complex stuff, but that doesn't sell and I'm trying to make records that sell". (I posted about one of them not being able to play with a click or understand that eighth notes or quarter notes don't have a specific tempo and you said "get a gun" haha) To me music always has and will always be number 1. I've always thought of it as I'd just try to write or play the best that I can and if something happens good, if it doesn't, I'm still going to be playing, writing, and recording. Just creating something like Fear Of A Blank Planet or The Incident would be a success in my opinion. Is marketing a huge part of what you do? I'm just trying to see if I'm being nutty or not.
-Stan
Man, some punk that can't even keep the beat to an eighth note groove doesn't have a clue about anything, much less music...Ignore his comment, he is *not* going to "make it". Get a band of serious and more dedicated musicians, you just did yourself a favour by quitting.
Good luck.


Fox.
 

NeuroAxis

Member
Neil Peart once said that musicians either sacrifice their lives for their music or their music for their lives.

I think most professional musicians have to strike a balance between gigs that stimulate their creative impulses and that stimulate their bank accounts. You need both to be a professional and to stay sane, I think. Unless you are one of the lucky 1% that hits mega-success with one good band (your Danny Careys and Neil Pearts (ironic given the quote above)).

But just as already has been mentioned, if the guy doesn't understand basic musical concepts like 8th notes and quarter notes, he's not gonna make in the industry bottom line. It's like someone wanting to play in the NBA without knowing what a pick & roll is.
 

chongzilla

Junior Member
Yeah, in Neil Peart's video called A Work In Progress, he mentioned that he packed everything up in a crate and flew to England to make it. He said at the time he thought "all you have to do is get good and you'll make it", but he learned a hard lesson and after a while flew back to Canada and worked on farm equipment for his father's company. Well, until the clouds parted and he tried out for Rush and everything changed!

I like playing gigs, it's just when I feel the aim is off I find it's hard to really be as into business like they are. By aim I mean both they're "business before music" and they book shows in random places where nobody knows us and the bands that are playing with us don't sound anything like us ("If you're really into Barry Manilow, you'll love ICP!" - Zach Galigianakis). My idea was to build a following in VA, then DC, then MD. That way some of the people from the other places would bleed over into the other areas. Instead of just being like "uh, lets play baltimore, um, new york, um, maybe dc?". Plus the guitarist was threatened by people he thought were better. I just thought of it as "bring your A game" or that it forces you to try harder if you're playing with better bands. If you book a bunch of band that aren't as good as you, you don't have to really work as hard. The best show was random. It was The Dreaming (ex-Stabbing Westward's Singer and Drummer) and Trust Company openning for us. Other than that, it's been mainly acts that don't have a crowd so we don't gain much from them. Or we'll play someplace and nobody'll be there like the last two shows we had three people that came to see us.

Outside of that, my musical direction is more progressive! haha
 

chongzilla

Junior Member
I might want to add that I'm not bashing them. I just feel that I'm just going a different direction. It took me a while to leave too. I wanted to leave in the recording process, but I didn't because I knew they couldn't afford it on their own and I couldn't leave them hanging. Plus, I wanted to get the album done. Even if it was taking forever. Like I recorded three of the tracks in 5 hours (including setup and teardown) and then guitarist took 5 hours to record a rhythm track that he had been playing before he was in the band. So things took a while. haha, though, I'll give it to him that he'd never recorded in a studio before the band so it was new for him.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hurlza

recently i have been accepted in to the orchestra of this thing in australia called the victorian state school spectacular, it sort of like an estedford meets a musical, any way i was just wondering in what ways can i maximize the experience i get and the people i meet from this awesome opportunity?


Record as much as you can and keep your ears and ideas open.

Also the other day i was playing to anesthetize on my kit tuned to the intervals said earlier in this thread but it still sounded off, because this song is in drop c do you tune your drums any differently?

I don't really tune my drums to specific notes. That tuning list I wrote down before was just a guide - it may not have been the exact tuning I used at the time that I recorded that song.

is your tour rack (the ICON) and your home rack set up so you can just drop your kit from oe to the other? like are they set up the same way?


Yes - I can easily drop one kit into another - the two racks (although not identical racks) are set up the same.

Hi Shreyas

Anyway, i just wanted to ask you what kind of space do you record in for a good drum sound. None of the studios in Pune ( which is where i live) have that sound, so i was planning to record in this pub that i just did a show in over the weekend, and the drum sound on the live recording was really good. Anything wrong in that?

Usually I record at home where I have a couple of different spaces. If your pub sounds good to you - then record your drums there.

Hi Padman77

Everytime I hear your ghost notes they sound amazing, just perfect and I ask myself the same question like omer. I mean, do you play one stroke on the ride cymbal an then rlrl on the snare and then again a stroke on the ride cymbal or is it more like lrll on the snare?
(At the Preview "Way out of here" of the new DVD I can see, that you play the ghost notes with both hands)


Quite often I play ghost notes with both hands and just move the right hand across from the ride to the snare drum. Sometimes it's doubles on the snare rrll and sometimes it's singles. Whatever I think sounds the best for the song and whatever sounds the most articulate in the mix. Sometimes I need the ghost notes to actually be quite loud for them to be audible in heavy songs. Occasionally I might even play the ghost notes on the rim of the snare.

Hi euphoric_anomaly

My apologies for the confusion in my last post. What I thought was a triplet was just a group of 3 1/8th notes on the hi-hats, with the hats open on 3.

Are you sure you're referring to "19 Days"? I don't recall playing what you describe there.

So to clarify, the intro is on the marimba? Looks like a huge xylophone?
Also, what are the tiny instruments that you hit with the small hammer in the middle of the video?


I think it is a large Xylophone. The other instruments are a pair of Javanese Gamelan

Hi pixelbreaker

Blind House is one of my favorite songs off of the The Incident. There's that big break with all that keyboard stuff, really reminds me of some of the stuff that Steve Jansen did with Japan. Is that you playing there or is that just something that Richard has sampled on keyboards?

It's not me playing - it's programmed. I'm a big Steve Jansen fan.

Hi chongzilla

I just quit my band after being told that "Music is #2, business and making it are #1" and "I know you want to play more complex stuff, but that doesn't sell and I'm trying to make records that sell". I've always thought of it as I'd just try to write or play the best that I can and if something happens good, if it doesn't, I'm still going to be playing, writing, and recording. Just creating something like Fear Of A Blank Planet or The Incident would be a success in my opinion. Is marketing a huge part of what you do?


Not everyone in a band always has the same plans and desires for the direction of where they should be heading. Chasing what you might think is a good 'commercial' way to go - usually ends in disaster. It's much better to make music that you like - and then hope the audience likes it too. On the other side of this is the need to make a living. I've played plenty of jobs that I didn't absolutely love - because I needed to make enough money to survive. Is marketing important? It can be very important if you've made an album that you think is really good and you want as many folks as possible to hear it and hopefully buy it.

cheers
Gavin
 

Jeff_F

Junior Member
Hello Mr. Harrison

I can't seem to put to words my admiration for your playing and I simply wanted add a thank you for taking the time to answer all these questions. I have learned so much, found some inspiration and even have a couple new things to practice from reading through this thread the past couple hours. The suggestion about approaching a difficult override from the 'other' perspective was especially brilliant and rang a bell with me (no pun intended).
So looking forward to seeing you guys in Dallas Tuesday night.. My tix have been on the fridge for months. I realize you cant make any promises but I'll be around before and after the show with my Incident LP and a sharpie :)

A million thanks for your time and input. I will be visiting this thread quite often from now on.

Jeff F
 

A gamelan student

Junior Member
19 Days instrumentation

Hi all. The intro to 19 Days is played on marimba and the small instruments are Balinese barangan, which (as Gavin says) is a type of gamelan metallophone.
 

Toza

Senior Member
Hi Gavin. How would you describe (in your own words) a double-dotted note? How you look at that. and do you look dotted note as three smaller notes or 1.5
 

steste50

Junior Member
Hello again Gavin,

I'd like to know if, when mixing, u use the technique of muting/cutting the parts of your drum tracks wherever they're not played (e.g. the parts of a tom track when the tom is not played).

Thx again,
Ste
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi euphoric_anomaly

This is what I was inquiring about in reference to 19 Days.

http://www.youtube.com/watch?v=LMGGE2AdGZY
from 2:28 to 3:11


OK now I've understood it - but they are not triplets - they are one 8th note (open hi hat) followed by two 16ths (closed).

Hi Toza

How would you describe (in your own words) a double-dotted note? How you look at that. and do you look dotted note as three smaller notes or 1.5

When a dot is added to a note it lengthens it by 50% - a double dot should lengthen the first dot by an additional 50%. So if you start with a quarter note and then add a dot it should equal 6/16ths and then if you add another dot it should equal 7/16s.

Hi steste50

I'd like to know if, when mixing, u use the technique of muting/cutting the parts of your drum tracks wherever they're not played (e.g. the parts of a tom track when the tom is not played).


Generally I don't cut the toms. Some people cut the lower toms when they're not being played to get rid of any ringing that's going on.

Cheers
Gavin
 

Jeff_F

Junior Member
hello Mr. Harrison,

You mention Phil GouId and Steve Jansen on the rhythmic designs DVD and I was wondering what other drummers you might recommend for studying really neat 4/4 grooves? I really dig all the off-time/poly-rhythm stuff but I don't want to get ahead of myself as a drummer if that makes any sense.

On that note, I really like how you approach poly-rhythms and overrides in your playing/songwriting.. always so tasteful! Can you name a couple drummers you listened to growing up to help you develop your ear and playing in those regards? (Forgive me if this kind of question has already been asked in this thread and I missed it).
 
Last edited:

euphoric_anomaly

Senior Member
Gavin,

When you were touring with King Crimson, which song (new or old) did you find to be the biggest challenge, as far as timing, tempo shifts, rests etc? Before you joined KC would you consider them a big influence in your playing style?

Thanks for your time, and explaining the 19 Days part.

Eric
 

drumstu

Junior Member
Gavin,
I would like to ask a technique question. Do you leave the beater off of the head when you strike the bass drum? Also, I know you play heel up, but do you ever drop your entire foot to where the heel lands with the foot? It seems to help me keep my balance but usual responses from most drummers are either heel up or heel down.

Thanks,
Stuart
 
Top