Gavin Harrison here!

[Robert Schmidt]

Hi Gavin.

Happy Easter!

Just a few tiny questions again. 1) Do you have a manager? If yes, why? (The reason I ask is it sounded like you have one in the interview you did for "drummers resource".)

2) When will be the day we can watch a lesson with you on drumeo? Even Todd was there...I´m sure they already asked you.
(Or maybe consider to go to the German pendant "onlinelessons.tv".)

3) Do you know Dave King - Drummer for a band called "The Bad Plus"? He has a youtube-series for drummers (another distraction) called "Rational Funk". I bit of adult speaking but funny though. An example: https://www.youtube.com/watch?v=7GfegGYzD1E
What is your opinion about Whiplash?

 

[Souljacker]

Hi Gavin,

There is a video on YouTube where you demonstrate the tuning of snare drums. You use two drum keys facing opposite each other when tuning. Do you also use two drum keys when tuning toms?

 

[Croc]

Greetings, Gavin!

I hope the recent practice sessions for the upcoming King Crimson tour went well. It is really good to see Bill R. rejoining but it will take some getting used to seeing him on the back line! We’ll see you guys on a couple of the US tour dates.

I have a question about the KC song “Starless”. We are practicing it for a performance this summer and it is coming along surprisingly well. I confess that I am struggling a bit with the “blowing” section towards the end (after the central section and the call and response bridge) where the tempo picks up and Mel has his fun in the KC version. The bass player and I are having a little difficulty with the count and coming together occasionally on the “one”. Any advice you can offer based on the current arrangement you have worked out with Pat and Jeremy?

Regards,
Croc

 

[Gavin Harrison]

Hi Robert Schmidt

Do you have a manager? If yes, why? (The reason I ask is it sounded like you have one in the interview you did for "drummers resource".)

I don't have a manager - maybe I was referring to the manager of the band?

When will be the day we can watch a lesson with you on drumeo? Even Todd was there...I´m sure they already asked you. (Or maybe consider to go to the German pendant "onlinelessons.tv".)

I did meet with one of the guys from Drumeo in 2015 whilst I was on tour - but the logistics of finding a good time to do it and to get out to Vancouver and arrange all my equipment to be there just hasn't happened.

Do you know Dave King - Drummer for a band called "The Bad Plus"? He has a youtube-series for drummers (another distraction) called "Rational Funk".

I'm not familiar with Dave King.

What is your opinion about Whiplash?

I didn't really like it.

Hi Souljacker

There is a video on YouTube where you demonstrate the tuning of snare drums. You use two drum keys facing opposite each other when tuning. Do you also use two drum keys when tuning toms?

Yes absolutely - now I always tune with two keys.

Hi Croc

I have a question about the KC song “Starless”. We are practicing it for a performance this summer and it is coming along surprisingly well. I confess that I am struggling a bit with the “blowing” section towards the end (after the central section and the call and response bridge) where the tempo picks up and Mel has his fun in the KC version. The bass player and I are having a little difficulty with the count and coming together occasionally on the “one”.

It's in 13/8 (as is the slower section earlier on - after the singing part). Best of luck !

cheers
Gavin

 

[DunkirkDrums]

Hello Gavin!

I was curious, knowing your love of jazz, if you're a fan of Stan Kenton and his Orchestra? Any particular favorite era of the band? (The albums with Mel Lewis behind the kit are phenomenal!).

On another note, I've noticed in more recent videos you've included a 22" swish knocker into your setup. Any particular reason for the change? It definitely has a bit more gusto and roar to it.

Thanks!

 

[Gavin Harrison]

Hi DunkirkDrums

I was curious, knowing your love of jazz, if you're a fan of Stan Kenton and his Orchestra? Any particular favorite era of the band? (The albums with Mel Lewis behind the kit are phenomenal!).

I remember listening to "Sketches On Standards" quite a bit when I was young - and I believe that was Stan Levey on drums.

I've noticed in more recent videos you've included a 22" swish knocker into your setup. Any particular reason for the change?

Now that I'm playing much less 'metal' styled music - I really enjoy playing the 22" Swish Knocker - I also have one of the early Mel Lewis ones.

cheers
Gavin

 

[Robert Schmidt]

Hi Gavin.

You are a working musician - making a living out of drumming. Did you develop some general behaviors or a mindset for staying healthy so that you can do what you love for as long as possible, like f.e. drive slowly, eat well, (don´t) do sports etc. If yes, what are they?

Do you have certain insurances like occupational disability or anything?

Greetz Robert

 

[Gavin Harrison]

Hi Robert Schmidt

You are a working musician - making a living out of drumming. Did you develop some general behaviors or a mindset for staying healthy so that you can do what you love for as long as possible, like f.e. drive slowly, eat well, (don´t) do sports etc. If yes, what are they?

Generally I try to get enough sleep and keep a healthy balance in my life between working, practising and relaxing. I try to eat well on tour (it doesn't always work out) and almost never drink alcohol. I try to walk around whatever town I find myself in and see some interesting things. It clears my mind and hopefully inspires some creative thoughts. I miss practising the drums whilst I'm on tour. I work a lot on a practise kit in the dressing room but of course it's not really the same thing. - but I get to work through a lot of ideas that I've notated recently. I don't do sports but occasionally ride a bicycle. In fact the last few Porcupine Tree tours I took a fold-up bike with me and it was great fun (and exercise).

cheers
Gavin

 

[iwearnohats]

Hi Gavin, apologies if this question has been asked before:

So I as a drummer am constantly working on my sound, aiming to improving my timing and accuracy to make myself as tight as possible. I do some occasional studio work and for the sake of saving time, I've resorted to recording songs piecemeal rather than attempting single whole takes, simply because it is so much faster that way - especially if I don't know the material as well as I'd like.

So my question is, as a working drummer who whilst having an extremely high level of technical facility and many hours behind the kit, do you ever, or often, find yourself nailing the first take in the studio? Not just from a technical standpoint and "every note is correct!", but also having the right feel and emotion come through?

I would love to just sit behind the kit, do one take and know it's perfect, and then just walk away! It's one of the reasons I hate recording for my Youtube channel - people are so much less tolerant of mistakes!

On that same token, if you don't rely on an ability to nail it in one take or if you're limited on practice time prior to entering the studio, do you then recording songs in sections just to make it quicker and easier?

 

[Lightbulb_Sun]

Hi Gavin,

Is there a time-frame for when we can expect the Pineapple Thief live Blu-Ray?

Also, happy birthday!

Cheers,
Quinn

PS: I like your shoes in the Steve Smith duet haha! Looking forward to hearing more - the kits sound great.

 

[K_HiHats]

Hey Gavin!

First off, a very happy birthday to ya!

I noticed in the studio version of "The Final Thing On My Mind," it certainly sounds like you brought back the 8" EFX #1 just for the occasion. I still have and regularly play my own, it's one of my favorites. If memory serves the last time you were using that cymbal was back on the albums FOABP and Drop way back in 2007. Just wondering if you could verify my ears are correct, and any particular reason why you brought it out for that song?

Also a while back I found this interview with Colin Edwin. He gets asked about you, and to my delight explains the concept of a rhythmic illusion very well. Just thought I'd share it.
https://m.youtube.com/watch?v=aeZv3Nr-CzQ

Finally what's your ride of choice at the moment in the live setting? The 20" K has been my go-to for the past few years and I adore its bell, but I'm always looking to expand my (rhythmic) horizons.

Hope your birthday was swell!
Cheers -- Peter

 

[Gavin Harrison]

Hi iwearnohats

So my question is, as a working drummer who whilst having an extremely high level of technical facility and many hours behind the kit, do you ever, or often, find yourself nailing the first take in the studio? Not just from a technical standpoint and "every note is correct!", but also having the right feel and emotion come through?

It has happened that I've got it in the first take - but usually I've rehearsed it for a while before that so I can work out what I might want to play. If it's going to be filmed then you pretty much have to have it down in one take anyway (so you need to rehearse it a lot) - or you'll be looking at edits which may or may not work. On a normal session (when I'm in my home studio) I will rehearse the tune a few times - I might even spend some time working on each individual section (and record them) so I can check if I like the direction it's going in and see if the drum and cymbal sound is working for the tune.

That process might take between 5 minutes and 3 days until I think I've found the best part I can dream up. (Weeks or years later I might think of better parts - especially after I've played it live a load of times - but that's life!)

On a session in a more traditional setting (in a hired studio with other musicians) there often isn't the budget to spend so much time on the songs.

A song like "In Exile" by Pineapple Thief took at least 2 days for me to find all the parts I wanted and to build the shape of the song. https://www.youtube.com/watch?v=8LTh10MHMOo

Then I'll try to hook up all the parts and start finding nice transitions from section to section. Next I'll rehearse it as a whole song. That might take a few minutes or hours before I'm ready to start recording whole takes. I'll probably do 4 whole takes that I like and then choose the one that 'feels' the best or had the best overall vibe. That one will be the master track - and I might edit in a section or fill from one of the other takes if there was something really interesting going on. Of course if there are breaks in the tune where the drums don't play - I'll stop - but generally I don't record in sections for the final thing.

HI Lightbulb_Sun

Is there a time-frame for when we can expect the Pineapple Thief live Blu-Ray?

I understand it should be ready for release in September. It's looking and sounding really good.

Hi K_HiHats

I noticed in the studio version of "The Final Thing On My Mind," it certainly sounds like you brought back the 8" EFX #1 just for the occasion. I still have and regularly play my own, it's one of my favorites. If memory serves the last time you were using that cymbal was back on the albums FOABP and Drop way back in 2007. Just wondering if you could verify my ears are correct, and any particular reason why you brought it out for that song?

Yes you're right - and I think I might have used it on more than one song.

Finally what's your ride of choice at the moment in the live setting? The 20" K has been my go-to for the past few years and I adore its bell, but I'm always looking to expand my (rhythmic) horizons.

For the past few years I've been really loving the 21" K Custom Dark Complex Ride. It's a real dark beauty !!

cheers
Gavin

 

[iwearnohats]

Hi Gavin,

Thanks for sharing your process! It has helped me out in a few ways.

Much appreciated
David

 

[Robert Schmidt]

Hi Gavin,
thanks a lot for your answer. Especially the one from iwearnohats was very interesting! If you say 2 days for the parts of "In Exile" (which came out obviously more than amazing!) how many hours (approx. per day) do you mean?

Then I have a little "hearing-experiment" for you if you have the time and mind for it. Shouldn´t take no more than 10 minutes. It covers an already discussed topic of timing and synchronism.

I want to find out the sensitivity of the ear concerning rhythm wherefore I did the following experiment: I programmed two SN-hits (same source); and a BD and a HH (different source) coming at a time. Then I put these two separately exactly above each other (offset of 0 ms) and gradually increased the offset. The question is at what space or offset can I hear two notes.

Here is my result: same source: =< 6ms / different source: =< 9 ms

The next is a simple drum rhythm. A "Polka-Beat" with BD and HH on 1 and SN and HH on 2. The tempo is 135 bpm. A few bars exactly on the beat and then the sort of "worst case scenario", where the 1 is X ms to early and the 2 comes X ms to late and again a few bars of 0 ms after that.

Results are: X = 15ms (I think I can hear it, but only because I know it) / X = 20 ms (I can hear it) / X = 30 ms (it sounds quite off).

It would be very interesting if you would come to similar or different results but of course I can´t force you to do it.

Greetz Robert

 

[Merlin5]

Sorry to butt in as I'm not asking Gavin a question but I'm looking forward to seeing his reply to the hearing experiment questions. Gavin's clearly a very intelligent person but I imagine even he might struggle to understand what on earth is being asked. Seems ridiculously complicated

Edit: just seen Gavin's reply. I obviously spoke too soon. My apologies Robert

 

[Robert Schmidt]

You´re right, Merlin5. I did not expressed the first two experiments too well:
Play (or program) two snare notes at the same time. Then gradually increase the space between them. On what space (measured in milliseconds) can you hear two notes?
Then do the same with Hihat and Bassdrum played together (the result maybe differs).
It´s about checking the sampling rate of the human ear if you will.

 

[Gavin Harrison]

Hi Robert Schmidt

If you say 2 days for the parts of "In Exile" (which came out obviously more than amazing!) how many hours (approx. per day) do you mean?

about 2 hours in the morning and 3-4 hours in the afternoon. Most of that time was equally split between playing/experimenting and listening/considering/imagining.

I want to find out the sensitivity of the ear concerning rhythm wherefore I did the following experiment: I programmed two SN-hits (same source); and a BD and a HH (different source) coming at a time. Then I put these two separately exactly above each other (offset of 0 ms) and gradually increased the offset. The question is at what space or offset can I hear two notes.

I can hear the sound change as soon as I apply even 0.5ms as the two identical sounds start to phase against each other. I would say around 4ms I can hear two attacks coming from the sound. A bit harder with two different sounds (bass drum/hi hat) more like 6ms when I start to sense some they have some distance between them but of course the attack on a bass drum and hi hat are completely different.

The next is a simple drum rhythm. A "Polka-Beat" with BD and HH on 1 and SN and HH on 2. The tempo is 135 bpm. A few bars exactly on the beat and then the sort of "worst case scenario", where the 1 is X ms to early and the 2 comes X ms to late and again a few bars of 0 ms after that. Results are: X = 15ms (I think I can hear it, but only because I know it) / X = 20 ms (I can hear it) / X = 30 ms (it sounds quite off).

I had similar results to you - but this is of course a 'programmed experiment' - real human results in playing would be much more varied and organic. Each hit would produce a slightly different sound and the relationship between the hi hat and bass drum would be changing all the time (by a few ms) and so the odd slightly early or late snare would have to be judged in a more general 'overview' sense about if the tempo 'feels' steady and if you can sense that the internal sync between the limbs 'feels' good to you personally. I think what we're talking about here is a 'window of acceptability' and that would vary depending on the listener and how good their ears are at spotting such things.

cheers
Gavin

 

[Drummerrobin]

Hi Gavin,

I hope all's well! I have just a couple of little questions...

How often do you rimshot the toms (if ever)? I have a hard time telling from watching vids of you playing. Either way, I'm always floored by the sound you get from them (and the rest of the kit!).

Also, I noticed that you always seem to wear the in-ear-monitors with the cable in front of you, while most people I've seen wear it running down their back. Is there any reason behind why you do this?

Thanks for your time,
Robin

 

[Gavin Harrison]

Hi Drummerrobin

How often do you rimshot the toms (if ever)? I have a hard time telling from watching vids of you playing. Either way, I'm always floored by the sound you get from them (and the rest of the kit!).

I almost never rim-shot the toms.

Also, I noticed that you always seem to wear the in-ear-monitors with the cable in front of you, while most people I've seen wear it running down their back. Is there any reason behind why you do this?

I just never liked the feeling of it on my back - it kind of irritated me so I just always run the cable down the front - sometimes inside my shirt.

cheers
Gavin

 

[TK-421]

Hi Gavin,

I just saw you with King Crimson the other night in LA, and I have to say, what an incredible show overall &#8211; and an incredible performance by you (and Pat and Jeremy too, don't want to leave them out!). I really liked all of your grooves, fills and solos, especially your intricate double-bass interplay with the toms in a few spots. I also liked how your solo on 21st Century Schizoid Man has evolved since the Radical Action recording.

So I have a few questions, and I apologize if you&#8217;ve answered any of these before. First, how did you first get the KC gig? Did you have to audition, or did they seek you out based on your PT and other work? Once on board, since there&#8217;s so much percussion going on, did you and the other drummers have to decide who was playing what, or was that all pretty much figured out before you joined? I know Pat has been playing with them for a long time, so I&#8217;m guessing he&#8217;s playing what he always has &#8211; but who knows, he may have wanted to change things up.

It also looks like you were playing the main groove on a lot of the songs, with Pat and Jeremy adding fills and counter grooves on top. Did they initially have you in mind for playing the lead groove on these songs, or did it evolve that way? There were also a number of spots where it&#8217;s just Pat playing and you&#8217;re sitting out. During these times, are you just watching and enjoying the show (like the rest of us), or are you thinking about/mentally preparing for other things? I&#8217;m also curious as to what you have going on in your IEMs. I remember reading a while back that you had cues (i.e. count offs for section changes) and other tidbits in your IEMs for PT. Are you doing something similar with KC?

Finally, this is almost more of a question for Pat, but you may know the answer. During the slow middle section of Starless, he&#8217;s cranking on some handheld percussion thing that looks like a tiny teapot-sized drum with a string hanging out of it. Do you know what this is? I have no idea, but I like the eerie, creaky sound it produces.

Can&#8217;t wait to see you play again! Any chance Pineapple Thief will make it to LA at some point?