Gavin Harrison here!

Hi Gavin,

I just saw the PT Mhz performance from 2003; a great performance! why did you had an x-hat between your snare and first floor tom? how was it mounted and how was playing it like?

Secondly, in the developing of your signature snare drum did you investigate Tama's melody master (Mike Portnoy signature snare) with it's 3 positions throw off or the DW 3 positions butt end? what do you think of those kind of features?

p.s. I have my fingers crossed for a PT record! hopefully with John Wesley... a fusion of everything you guys do so well!

Thanks, m.
 
Hi Gavin!

About your floor-tom rings...

What I know about tuning tells me that the tone of a tom (drum) consists of 3 pitches. The pich of the batter head, the pitch of the bottom head plus the tone of the shell itself. But putting these rings on a head kills some of the overtones, which causes a change in tone/pitch (at least I think this happens) - lowers it slightly. So do you adjust your tuning because of this?
I'm currently trying to recreate these rings, and I'm starting these with an appr. 12mm width on the 14" floor tom, and a slightly bigger 14mm width on the 16" tom. But it's only the starting point probably, I don't want to "kill" the "boingy-ness" too much. I'm guessing these sizes will be a bit big/wide. How wide are yours?

Plus previously I was asking about Lug Lockz and stuff, and I mentioned that I'm gonna "report my findings". :) Bear in mind, that this is only my opinion, not an absolute fact, but I have some experience with mechanics. So! I tested a few products, and RhythmTech's Index Tension Tuners seems to work quite nicely. The loosening tension rods-issue on my snare has improved at least 40%. But you have to be careful when choosing the length (short-medium-long), because it's not perfectly standard (comparing them to Gibraltar's tension rods). The other products... well... they all have good and bad features, but... ... Anyway! During installation you have to be careful with the tension rods and their... ahm... sleeves, they have to be centered, otherwise you'll loose "the grip", but if you have some experiance working with nuts, lugs and bolts, there won't be a problem.
I don't know if you'll try/test them or not, I'm only putting the info out, because I sort of promised. I just hope I could help!

Plus I took your advice about doing whatever feels right and comfortable. I choose an 8"-10" rack, 14"-16" floor configuration (The 12" tom has gone into retirement), and this was what I've been looking for both in sound and in size. Thank you!

Cheers,
Matthew
 
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Practice routine

Hi Gavin! I've recently got into your "rhythmic series" and I have to sat that you did a very complete job developing all that material... but my question comes from another source.
I've made a "drumming plan" that consists of two different practice routines.
I intend to alternate both during the week. That means practicing one routine on Mondays, Wednesdays and Fridays... the other one on Tuesdays, Thursdays and Saturdays.
And here is my question: do you honestly think it would be effective considering I won't be playing the same kind of material every day?
One practice routine is based one technique, subdivisions, polyrythms, stroke rolls and ruffs, paraddidles...
The other one is based on book methods such as 'Rythmic Illusions', 'The Funky Beat', 'Double Bass Drum Freedom'... and so on!
Any suggestions?
Thank you for taking some of your time to answer.
 
Hello Mr. Harrison, I really appreciate your work, I would learn to play the 19 days.How can I get the score music?
 
Hello Mr. Harrison, I really appreciate your work, I would learn to play the 19 days.How can I get the score music?

Breno,

Just wanted to let you know that Gavin does not give out sheet music, drumless tracks, personal "guided tours of drum tabs" or anything else you may have in mind. Not trying to be rude at all, just giving you some info about this forum =)

E_A
 
Hello Mr. Harrison, I really appreciate your work, I would learn to play the 19 days.How can I get the score music?


Breno,

Just wanted to let you know that Gavin does not give out sheet music, drumless tracks, personal "guided tours of drum tabs" or anything else you may have in mind. Not trying to be rude at all, just giving you some info about this forum =)

E_A


In this case, that particular song is available.

http://www.hudsonmusic.com/2017/features/playalongs/gavin-harrison-19-days/
 
Gavin,

I know it's probably cost prohibitive, but any chance of bringing GH05 to the U.S.? If not, any possibility of a live DVD? Continued success with the tour!

Jeff
 
Hi euphoric_anomaly

I was so disappointed not to be able to see you in Portsmouth, NH, What did you like best about that town?

Unfortunately didn't see any of it - I was only there for about 8 hours and spent all of it at the drum store.

Also, did you gain most of your arm strength (mainly forearms, biceps) from drumming alone? Or do you also work out to keep in shape?

Yes only from drumming - I don't do any muscle building stuff. I ride a bicycle whenever I have time and the weather is not too bad.

Hi Rudolf Horváth

I noticed that my sense of steady beat isn't that strong. I think I am too dependant on others, when I hear something playing I can feel my timing is good. But once there are, what I call, "silent parts" I have hard time holding steady beat when there is nothing to hold on. Hope it makes sense... I mean I can play in time simpler things, but the rests can cause trouble. Especially those over few bars.


if you can hold the time better when just playing simple things - just play simple things until you get better/more confident.

I also noticed that my idea of rhythmic values (Triplets, Eights, Sixteens...) isn't perfect. I have a clue how it is placed in time, but not very clear. It takes me a little bit of time (Two or three beats) to adjust well... For example when playing from sixteens to triplets. And of course syncopated notes are extremely difficult as I tend to be drawn to the beat, for example when I try to play last sixteen note.

You need to practise to a metronome and listen carefully when changing subdivisions - switch back and forth between 8's and triplets until you can do it easily without chasing the click. You need to know how to make the adjustment - and that comes from lots of practising and listening. Be very observant.

On song 19 days you play a marimba. It is your own marimba? Have you ever practiced melodic instruments like marimba or vibraphone? Do you know any good books? I own xylophone and I sometimes feel guilty not playing it as I don't know what to practice.

I do own a marimba - but I don't have any good books to practise - when I find time I will find a teacher to show me how to play it properly.

Hi Torkerz

I was watching the below video:

http://www.youtube.com/watch?v=IfKDG7rXEWM

I was wondering if you had any tips or notation of the complete exercise at the end, with the 4/4 over ride on the hi-hat? I know that the groupings are thrown together, but I would like to try and do each separate and then together but with that over ride.
I think it would be easier to see the notation as opposed to trying to work it out myself. I have been trying to work it out with the click but might need some further advice. I can play the fills fine and move between them with the trills on the feet, but when I try to throw in that poly rhythm I feel like I'm back to square 1 again... Help please!


first you need to be able to sing and clap groups of 3/16 in 4/4 without losing where the downbeat in 4.4 is. You will notice that it resolves to a quarter note after 3 beats (but that isn't where the downbeat is in 4/4). So you have to play it over three bars of 4/4 before it resolves with the 4/4 downbeat. Try writing it out and memorise the position of each note - it's really not hard. Then do the same thing with groupings of 5/16. Accent the "1" and "3" of every 5...and then write it out over five bars of 4/4 - and then to groupings of 7/16 accenting the "1" "3" & "5" of every 7 and so on. Once you've practised that a few hundred times you will find it easier to switch between the grouping at any point and not get lost in 4/4

And secondly, have you got any good tips for chart reading? I really want to buy your latest book with the 05ric tunes in it. I have the Louis Bellson sight reading books, Ted Reed's syncopation and Tommy Igoe's book, but I was wondering if you had any other tips?

I found the best thing for reading is to do it a lot - and also try transcribing simple rhythms - it's the understanding of where the syncopation lands that will help you the most.

Hi Marian Cimpian

I just saw the PT Mhz performance from 2003; a great performance! why did you had an x-hat between your snare and first floor tom? how was it mounted and how was playing it like?

I used to play a hi hat in that position back in 1986 when I was with Iggy Pop as it was helpful to play fast 8th note rock/punk music without crossing my hands. I used again with Level 42 and when I first started with Porcupine Tree. After that first PT tour I switched back to playing just one regular hi hat on my left side. It was mounted on a small cymbal stand with a hi hat clutch upside down so I could close it tight.

Secondly, in the developing of your signature snare drum did you investigate Tama's melody master (Mike Portnoy signature snare) with it's 3 positions throw off or the DW 3 positions butt end? what do you think of those kind of features?

No I didn't investigate those snare drums. The 3 position butt may be quite useful - but it's not in an easy place to access as you are playing (if you keep the throw off on your left side as most drummers do).

Hi szokematyi

What I know about tuning tells me that the pitch of a tom (drum) consists of 3 pitches. The pich of the batter head, the pitch of the bottom head plus the tone of the shell itself. But putting these rings on a head kills some of the overtones, which causes a change in tone/pitch - lowers it slightly. So do you adjust your tuning because of this? Do you tune the drum differently with and without rings?

No I don't tune differently with the rings in.

I'm interested in the pitch, and pitch relations in between the heads (bigger, or smaller pitch relations, lowered bottom or tightened batter etc.) mostly. Do you maybe tune your batter head higher a bit?

I don't tune to an exact interval - but I can tell you that the bottom head is tighter than the top on all my toms.

Plus how wide are your rings? I'm currently trying to recreate these rings, and I'm starting these with an appr. 12mm width on the 14" floor tom, and a slightly bigger 14mm width on the 16" tom. But it's only the starting point probably, I don't want to "kill" the "boingy-ness" too much. I'm guessing these sizes will be a bit big/wide. How wide are yours?

They are about an inch wide.

Hi atman

I've made a "drumming plan" that consists of two different practice routines.
I intend to alternate both during the week. That means practicing one routine on Mondays, Wednesdays and Fridays... the other one on Tuesdays, Thursdays and Saturdays.
And here is my question: do you honestly think it would be effective considering I won't be playing the same kind of material every day?
One practice routine is based one technique, subdivisions, polyrythms, stroke rolls and ruffs, paraddidles...The other one is based on book methods such as 'Rythmic Illusions', 'The Funky Beat', 'Double Bass Drum Freedom'... and so on! Any suggestions?


I believe it's good to have a plan - sticking to it is the hardest part. Practising to a metronome and improvisational sessions are very useful too.

Hi Polska

I know it's probably cost prohibitive, but any chance of bringing GH05 to the U.S.? If not, any possibility of a live DVD? Continued success with the tour!

No plans at the moment to do either - but who knows what the future might hold.

cheers
Gavin
 
Hi Gavin,
how are you?

I hope the question hasnt been asked before;
Will you participate at the Sonor Days 2014 again?

The last time was just GREAT!

I'm really excited about the selection of artists this time.

Thanks,
Chris
 
Hey Gavin!
I've noticed you often use R L r r l l sticking. I was wondering whether or not you use push & pull technique to make the r r l l at very fast tempos? Also, do you have any 'favourite stickings' that you like to experiment with?

By the way I've attended your clinics and show with 05Ric in Opole. Wonderful time, thanks a lot :).
 
Hi Gavin,
I would like to thank you again, for a little chat we had about metronome before your Concert with 05Ric in Opole. Thank you for your wise words.
I forgot to ask you about some CD's which you can reccomend to listen. Could you tell me some?

I bought your CD's "Drop" and "Circles". I have to admit, that I havent heard so emotional music for years. "Drop" is beautiful. I've never thought, that odd time signatures, and experminetal music can be friendly to listener and be emotional also. I miss the words in the booklet. Where i can find those?


I found on You Tube your performance on MusikMesse 2007:
http://www.youtube.com/watch?v=bQ934SpNcdE
Where i can find this piece? It's awesome!!! Did you write it?

Thanks,
Ludwik
 
First of all greetings to the Drummerworld forum and all the members, especially the ones who are on the GH topic.

This is my first post and it is directed to Gavin Harrison. What a blessing it is that internet can overpase kilometers and miles of distance so that WE, anonymous drummers can chat with professional drums all over the world.

After days of thinking about the question which I wanted to ask Gavin, I said to myself "I am gone ask it in the most simplest way: direct and right "in your face".

Gavin, I have came to a "wall" with my drumming. My path was to concieve MY BAND which was very artistic, yes we were exploring progressive/art rock territories. But, the door wasn't opening for us. And to be sincere, we weren't realistic and organised. I have put my time, energy and drive in that band - and know I am very frustrated, drained and still recovering from "I can't believe I was like that - dreaming, being unrealistic." and also "I can't believe I opened my heart and soul to bandmates who didn't care for me/us as human beings who wanted to be more than musicians."
So, know I have seen my dream being shattered. And I don't know what to do.
When I started to play in bands, it was all about playing any kind of music but as the years went by, I realized that I wanted my OWN band. I was at peace with this kind of decision. Unfortunately, in Croatia (well, also in any part of the world) condeming yourself to JUST ONE BAND - is a death sentence. And I think I went that road. Now, I don't know what to do? Everyone who I know who is playing tells me "Take a break, and rethink about what do you still love about playing drums and which doors were not meant for you not go in to."

Being from a MUSICAL FAMILY (my dad - bass player, my cousins - bass players&keyboard players etc.) I know that playing music and playing drums is in my blood. It would be a sin to let that kind of gift - just drain out. In reality drums are not in forefront of my life, they are in the background but always present. If I could only balance it with my other duties in life - I believe that doors WOULD START OPENING.

In conclusion. What to do when a drummer hits a creative "wall" and a blockade in his mind/heart/soul and is very dissatisfied with any future musical engagements? Should he stop and sell his drums - and say to himself "I guees it wasn't meant for me to do this, maybe there was no blessing in that." Should I contact some successful drummers for advice who would give me an "eye opener"? If in some way you could help me, please do.

In the end, I think that the spirit of Jeffrey Porcaro lives in YOU in some "odd-time" way. God bless your existence and your drumming, Gavin.

Thomas
 
Hi Gavin
I was watching your ''protean bonus feature'' video on youtube, and right now i have some questions for you, and i hope get some answers

First
How do you tune the batter head in relation on the resonant head on your drums? I mean if you tune the snare batter head for example ''a 1/4 turn tighter than the resonant head ...' you know. And all the other drums... especially floor toms and bass drum to have the best sound possible

Second
You tune your drums to a live situation for example as the same tuning method as a studio situation?? And about your drumheads.. Did you use the same heads however is a live or a studio situation???

Third
Did you play with a smallest drum sets??
And which set do you recommend to use to play for example in a pub, or in a jazz club??
and which cymbals maybe (This question it' s all about your opinion and maybe if you play in these kind of jobs, or maybe another situations than requires a small kit,which setup you use, you know)

And the last
Your opinion about the difference of coated head and the clear ones.
Of course have differences on the sound,but, to you how this difference works??
For example
''A batter head for a bass drum.
If you used coated in a situation, if you use clear in another'' and why???


Thank you
Humberto
 
Hi Gavin, I've been wondering,

Do you ever plan to release an offical transcription book of your work with Porcupine Tree with songs like Sound of Muzak, Fear of a Blank Planet, Futile, Anesthetize, Way Out Of Here, etc.? If you do, you should collaborate with the same transcriber who did Rhythmic Designs, Terry Branam I believe, as that is a phenomenal work. I also feel it would be massively appreciated, as your work with Porcupine Tree is as you know, extremely admirable and inspiring. :)

Also, on a slightly more selfish note: Do you plan on playing anywhere near Massachusetts? I'd love to see you perform as you are an utmost inspiration to me as both a musician and a person.

Thank you! :)
 
Gavin,

Before I ask, I wanted to say that you're a huge inspiration to me. The way you interpret music and make what you play fit it perfectly amazes me. I'd like to be able to do it some day.

I had a kit before I moved house, which I taught myself the basics on. We then moved to a place where there was no room for my kit... :( I learned the basics, and have since taught myself a little more, learning about paradiddles and basically using my legs as a practice pad, haha. My question to you is this: once I get my kit set up again, what would suggest I work on next? I have a basic understanding of time signatures, and a good sense of rhythm and timing, so I feel like beginner lessons would be wasted on me, but after so long, would you recommend going back to the basics, and learning everything again but from behind the kit itself?

Many thanks,

Josh.
 
Hi CareyCopelandCameron

I hope the question hasnt been asked before;Will you participate at the Sonor Days 2014 again?

I don't know. I imagine not as I played at the last one - and they have many great artists to choose from.

Hi Mash

I've noticed you often use R L r r l l sticking. I was wondering whether or not you use push & pull technique to make the r r l l at very fast tempos? Also, do you have any 'favourite stickings' that you like to experiment with?

Actually the sticking I use a lot is R L R R L and sometimes I put a bass drum on the end of that (or a pedaled hi hat) which turns it into a six note run. Sometimes I double the bass drum note (the fill from Fear Of A Blank Planet is exactly that) and sometimes I just play the five notes with the hands as 16, 32, 12 or 24th notes and that produces some interesting patterns. Sometimes I accent the first note - or the second note - or the first two notes - or the last note and that all has interesting effect on the way you can voice the five notes around the drumset. I don't know exactly what you mean by "push & pull".

Hi Ludwik

I bought your CD's "Drop" and "Circles". I have to admit, that I haven't heard so emotional music for years. "Drop" is beautiful. I've never thought, that odd time signatures, and experminetal music can be friendly to listener and be emotional also. I miss the words in the booklet. Where i can find those?

I don't think they are online anywhere.

I found on You Tube your performance on MusikMesse 2007:
http://www.youtube.com/watch?v=bQ934SpNcdE
Where i can find this piece? It's awesome!!! Did you write it?


Yes it's on my first DVD Rhythmic Visions and it's called "Designer". Gary Sanctuary wrote the piece.

Hi ThomasBaricevic

In conclusion. What to do when a drummer hits a creative "wall" and a blockade in his mind/heart/soul and is very dissatisfied with any future musical engagements? Should he stop and sell his drums - and say to himself "I guees it wasn't meant for me to do this, maybe there was no blessing in that."

Maybe the best advice is this - don't give up - persistence and determination are the key things. Winston Church said "Success is going from failure to failure without loss of enthusiasm".

Hi humberto

How do you tune the batter head in relation on the resonant head on your drums? I mean if you tune the snare batter head for example ''a 1/4 turn tighter than the resonant head ...' you know. And all the other drums... especially floor toms and bass drum to have the best sound possible


On the snare drum and the toms the bottom head is definitely tighter than the top. I can't tell you exactly by how much - you need to decide when it sounds good to you.

You tune your drums to a live situation for example as the same tuning method as a studio situation?? And about your drumheads.. Did you use the same heads however is a live or a studio situation???

I tune the same and use the same heads. The microphones are in the same position whether I'm in a studio or live so there's no real difference.

Did you play with a smallest drum sets??

No not really.

Your opinion about the difference of coated head and the clear ones.

I like the warmth and tone of a coated head - I don't really like the clear heads as the attack sounds a little bit 'plasticky' to me. On the bass drum I usually use a Remo clear Powerstroke 3 but the bass drum has a lot of dampening inside and is a different story to the rest of the drums. Sometimes I use a coated Ambassador on the bass drum and have no dampening inside the drum for a big booming sound.

Hi PearlDrummer1993

Do you ever plan to release an offical transcription book of your work with Porcupine Tree with songs like Sound of Muzak, Fear of a Blank Planet, Futile, Anesthetize, Way Out Of Here, etc.? If you do, you should collaborate with the same transcriber who did Rhythmic Designs, Terry Branam I believe, as that is a phenomenal work. I also feel it would be massively appreciated, as your work with Porcupine Tree is as you know, extremely admirable and inspiring. :)

be careful what you wish for...this exact thing could be coming true very soon.

Do you plan on playing anywhere near Massachusetts?

no plans at the moment.

Hi Illusion1409

My question to you is this: once I get my kit set up again, what would suggest I work on next? I have a basic understanding of time signatures, and a good sense of rhythm and timing, so I feel like beginner lessons would be wasted on me, but after so long, would you recommend going back to the basics, and learning everything again but from behind the kit itself?

It's always a good idea to go back to basics - maybe you will fly through them but it depends how much 'attention to detail' you give them. Can most people play a paradiddle? Yes. Can they play it perfectly? No. It depends how hard you are listening. Practising simple things always helps and working on timing is ALWAYS important. Best of luck.

cheers
Gavin
 
Hi Gavin!

My mother gave to me your book, Rhythmic Perspectives, I really like it, It was my Christmas gift...

On your last answer you told that there is a possibility to release a book with the transcriptions of PT songs. I'm really happy with this.

Can you include a cd of play-along tracks (without click) like you did with Rhythmic Design book? It's difficult find good books, with song tracks with the option "without click".

The Yamaha 9000 on e-bay is your famous snare? The snare that inspired you to create the Protean?

Thank you Gavin to help us during many years. A happy new year, and I hope that some day you visit Brazil with PT or 05Ric, or alone to make a clinic... If drums are a problem, You can use mine, It's a SQ2 inspired in your black and white tribal finish (same sizes and thickness).

Thanks,

Marcos
 
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Hi again, Gavin.

A big problem for me, when playing with friends who have guitars and basses, is snare buzz. If I'm not playing I often find myself having to switch off the snares. I've looked online at various solutions, but was curious as to your methods - how do you cope with such an annoyance?

Regards and Happy New Year,

Josh.
 
how do you cope with such an annoyance?

Try cranking your snare-side head a bit tighter. Other than that, you'll never eliminate the sympathetic buzz caused by loud amplifiers, especially in small rooms, or when they are in close proximity.
 
Hello Gavin,

It is a pleasure to see you personally on this thread. I'm a bassist and your videos are of great interest to me in programming interesting grooves (unable to find a good drummer so far :( ) Anyway, on with the questions:

1. I noticed you play a marimba on 19 Days. You mentioned earlier that you don't practice with it but I wanted to ask do you ever compose melodies with it to present to either O5Ric or Porcupine Tree? Also, on 19 Days, in the video, there is a shot of you playing another melodic percussion instrument which looks like a number of small metal plates struck with a hammer. Which instrument is this?

2. You've mentioned that the ideas that you send to O5Ric usually have some basic bass and guitar riffs along with the drum rhythms. Do you ever do this in PT or are your contributions to PT limited to drum ideas?

3. You mentioned the only electronic drum equipment you use is the Korg Wavedrum and even then, usually not in a live setting. Is it because you are afraid of electronics conking out in the middle of a gig, Spinal Tap style? Also, have you ever used the Wavedrum or other electronic pads to compose melodic ideas or grooves for presentation as song ideas?

4. Are there times when you don't feel like practicing drums and you go play guitar or bass instead or do you only play guitar and bass as compositional tools when you are working on drum ideas?

Thanks a lot for your time and happy New Year to you :)
 
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