Gavin Harrison here!

Warrenoids

Active member
I don't know quite what you mean by 'random'?
"Random" isn't the correct word really, I should have worded that better. In your Drumeo video, you said you scrutinized Steve Gadd's playing to find the purpose of each note, Now, I'm trying to do the same thing, what purpose does these chicks/splashes serve?
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
"Random" isn't the correct word really, I should have worded that better. In your Drumeo video, you said you scrutinized Steve Gadd's playing to find the purpose of each note, Now, I'm trying to do the same thing, what purpose does these chicks/splashes serve?
I just like to use it as another percussive colour to add to what else is going on.

best of luck !
Gavin
 

Doraemon

Well-known member
Hi Gavin,

Thanks for your amazing answers, including to my silly question. It makes sense if you keep it loose, it can be anywhere on the hoop, I should stop trying to find symmetry in everything, lol. I love what you wrote to TK-421, that list of words is a nice quick reference, and may be the key to why your music sounds so pleasing. Functionality was one of the first things that struck me when I discovered your drumming, that and the sound. Thanks,
Dora
 

BrianBjur

Junior Member
Yes it does resemble "Africa" a bit. I don't know if this Leon Ware album was before the Toto song or not? Nice tune anyway.

Unfortunately I’ve not been able to find any more specific information than that both songs were released the same year (1982). As long as the estates can get along about it I don’t think a case could be made that David Paich ripped himself off.

Thank you Gavin
 
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sal_tpa

Junior Member
Gavin I read in Rhythmic Composition that you use two hi-hats in "Blackest Eyes" and I'm assuming the main hi-hat is the K 13" but I was wondering which model is the auxiliary hi-hat you use in the first verse? Thanks for your time!
 

TK-421

Senior Member
Creativity certainly is a fascinating thing. Where does it come from - and why does it come and go? Will I ever be creative ever again? I know a lot depends on my mood and the feelings that I’m having at that particular moment. Sometimes watching a film could put me in an ‘inspired’ frame of mind - or going to an art gallery, or being in an exciting city. All of these things could affect what happens when I sit down and play the drums.

Looking at any design, be it clothing, cars, electronics, watches, buildings, or anything else that catches my eye reinforces and confirms my personal ideas about what is ‘good design’ or ‘bad design’ according to me.

Words might come to mind such as:
Modern, exciting, unique, classy, simple, futuristic, stylish, minimal
as well as:
Clunky, blingy, ugly, non functional, tasteless, pointless, too technical.

Some things you just ‘like’ and you don’t always know why. Maybe you see the Fibonacci sequence in the proportions or you just recognise it as pure beauty. What I might personally like doesn’t mean that everyone (or anyone) else will also like - so it’s part of my personality.

If I see a piece of architecture that inspires me - I don’t literary see a building with 7 windows and then play a rhythm in 7 (although that could be an interesting strategy). It’s more about the raw design, the proportions, the functionality and the sheer beauty (or even humour) about it that attracts me. I might reflect on those thoughts next time I’m trying to be creative on the drums.
Thank you Gavin for taking the time to write a thoughtful reply to my enigmatic question. I have similar feelings toward creativity, and since I work in a creative field (advertising), I've learned to quickly become inspired by many things in order to meet tight deadlines.

It's interesting that you mentioned the Fibonacci sequence, as a few months ago I came across a very interesting program that discusses how the Fibonacci sequence and the golden ratio play a part in music. I found it fascinating. The two hosts are both musicians, and at the end one of them creates a very interesting piano piece based on these concepts.

This episode is only about 10 minutes long, so I recommend checking it out.

 
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mbdrums

New member
Hi Gavin,

just a question: Which hihat did you play at drumeo (type and size)?
I searched the whole internet, but i couldn´t find anything. Perhaps i missed it.
Thanks in advance.
Mike
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi sal_tpa

I read in Rhythmic Composition that you use two hi-hats in "Blackest Eyes" and I'm assuming the main hi-hat is the K 13" but I was wondering which model is the auxiliary hi-hat you use in the first verse?

I believe I had two pairs of 13: K hi hats. One pair on the left (on the hi hat stand) and one pair on the right by the floor tom (closed tight).

Hi TK-421

Thank you Gavin for taking the time to write a thoughtful reply to my enigmatic question. I have similar feelings toward creativity, and since I work in a creative field (advertising), I've learned to quickly become inspired by many things in order to meet tight deadlines.

Two books by Paul Arden I found very interesting regarding creativity "Whatever You Think, Think The Opposite" and "It's Not How Good You Are, It's How Good You Want To Be".

Hi mbdrums

Which hihat did you play at drumeo (type and size)? I searched the whole internet, but i couldn´t find anything.

They were 14" K Zildjian (made in Istanbul in the 1950's)...very nice too !

cheers
Gavin
 
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Warrenoids

Active member
Hey Gavin! Excellent work on the K Sweet Performance video. Break It All is a very good song, well so is the entire album. Can we expect more playthroughs anytime soon?
 
Hi Gavin,

I just got a Sonor sq1 kit. 12, 14ft and 20 bass drum. I've had other German made Sonor drums so I'm used to their sound and tuning them. But I'm having an issue with the 12x8. I have it tuned in a similar range to your 12. I found when I mounted it there was a loss of tone. Sustain shortened and the low end disappears a bit. It becomes more of an ugly clunk sound. I've spent a couple of days on the tuning. I took off the stock heads thinking that their age might be the problem. But I'm having the same issue with a new 2 ply coated head. I find when I hold it in my hand I'm getting the tone and full resonance that I'd expect...but as soon as its mounted the problem continues. Its attached to a sonor 4000 series Tom arm, which is in a clamp that's attached to a Gibraltar straight cymbal stand. A normal way to mount a rack Tom. Exactly as I did with the 12 of my last sonor birch kit. Any ideas what might be causing this? I've played sonor stuff for over a decade so I know their quality and I've honestly never had any issues with any of their gear before. I'm hoping there's a simple solution. Since its resonating in my hand more...could this be some kind of hardware issue? Could it be the hoop? Any ideas would be appreciated.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Warrenoids

Excellent work on the K Sweet Performance video. Break It All is a very good song, well so is the entire album. Can we expect more playthroughs anytime soon?


Thanks. A large amount of filming is being prepared ! Stay tuned.

Hi Sonorplayer

I'm having an issue with the 12x8. I have it tuned in a similar range to your 12. I found when I mounted it there was a loss of tone. Sustain shortened and the low end disappears a bit. It becomes more of an ugly clunk sound. I've spent a couple of days on the tuning. I took off the stock heads thinking that their age might be the problem. But I'm having the same issue with a new 2 ply coated head. I find when I hold it in my hand I'm getting the tone and full resonance that I'd expect...but as soon as its mounted the problem continues. Its attached to a sonor 4000 series Tom arm, which is in a clamp that's attached to a Gibraltar straight cymbal stand. A normal way to mount a rack Tom. Exactly as I did with the 12 of my last sonor birch kit. Any ideas what might be causing this?

It might help if I could see exactly how you have it mounted. I am more than familiar with the problem. The 12x8 on my old Yamaha kit had that problem really badly - and it took me years to even understand how the hardware can suck the tone and sustain out of a drum. However - all is not lost. Try mounting the tom with the shortest path to the hardware possible - so try not to have the tom arm too extended and don't have a massive long clamp. Also - it would be better if there was no 'metal to metal' contact. Failing that, mount the tom in a snare drum stand - and maybe use a suspension helper like this https://www.britishdrumco.com/britishdrumco-tomsprings

best of luck
Gavin
 

Ameestafg

New member
Hello Gavin,

I recently watch the Nord Drum 3Ps video, there are lots of interesting sounds, organic sounds, that are just different and feel good. My question is: Have you been interested on recording an album that incorporates industrial sounds or just an electronic experiment? If no, second question: Have you ever considered doing an other solo album like Cheating the Polygraph, not asking about a remastered edition really, but a brand new album or a TPT one arranged with "Big Band" "Swing" or "Jazz" sounds? ?

Thank you and greetings from ?? as always.
 
Hi Sonorplayer

I'm having an issue with the 12x8. I have it tuned in a similar range to your 12. I found when I mounted it there was a loss of tone. Sustain shortened and the low end disappears a bit. It becomes more of an ugly clunk sound. I've spent a couple of days on the tuning. I took off the stock heads thinking that their age might be the problem. But I'm having the same issue with a new 2 ply coated head. I find when I hold it in my hand I'm getting the tone and full resonance that I'd expect...but as soon as its mounted the problem continues. Its attached to a sonor 4000 series Tom arm, which is in a clamp that's attached to a Gibraltar straight cymbal stand. A normal way to mount a rack Tom. Exactly as I did with the 12 of my last sonor birch kit. Any ideas what might be causing this?

It might help if I could see exactly how you have it mounted. I am more than familiar with the problem. The 12x8 on my old Yamaha kit had that problem really badly - and it took me years to even understand how the hardware can suck the tone and sustain out of a drum. However - all is not lost. Try mounting the tom with the shortest path to the hardware possible - so try not to have the tom arm too extended and don't have a massive long clamp. Also - it would be better if there was no 'metal to metal' contact. Failing that, mount the tom in a snare drum stand - and maybe use a suspension helper like this https://www.britishdrumco.com/britishdrumco-tomsprings

best of luck
Gavin

Good to know that it is just something that happens and can be dealt with. I decided to take a few steps to try to identify where the tone loss is happening. First of all, I realised that the sonor tom arm was sent to me with the longer hex rod (is that what you called it? the thing you actually hook the tom onto) sticking out and the shorter end in the arm itself. When I thought about I realised this wasn't how I mounted the toms on my older kit. Looking around at images (including your own set up) I realised it would work better to reverse the rod. Photos showed it set up that way. It also gives you better placement of the tom in relation to the tom arm.

When I mounted the tom like this I noticed a little more tone coming back. Not a lot. But a bit. It gave me some hope.

So in terms of what you said....yeah, there is actually metal on metal. The tom arm is in a clamp. It has no rubber isolation. The other end of the clamp is also attached to the cymbal stand. Again, no rubber isolation. So there's a couple of points where metal meets metal.

I then decided to see if I could figure at what point the tone loss was starting. I held the tom by the rim...full open tone. I then attached the tom arm. Holding it by the tom arm and hitting the drum...full open tone. I then attached the clamp to the tom arm. Holding the clamp, which was attached to the tom arm...I hit it. And there was the first sign of tone loss.

I'm going to pick up a sonor stand to mount the tom to solve the issue.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Betsi

I recently watch the Nord Drum 3Ps video, there are lots of interesting sounds, organic sounds, that are just different and feel good. My question is: Have you been interested on recording an album that incorporates industrial sounds or just an electronic experiment? If no, second question: Have you ever considered doing an other solo album like Cheating the Polygraph, not asking about a remastered edition really, but a brand new album or a TPT one arranged with "Big Band" "Swing" or "Jazz" sounds?

I used the Nord Drum a lot on the 'extras disc' of the latest Pineapple Thief record (special edition) but I am definitely interested to explore those sounds and textures more. No plans for another Big Band album (I'd love to do it but I don't have a great idea for one at this time). I am starting work on some new pieces with Antoine Fafard and it might take a surprising twist.

Hi Sonorplayer

I decided to take a few steps to try to identify where the tone loss is happening. First of all, I realised that the sonor tom arm was sent to me with the longer hex rod (is that what you called it?


that's good to know you're already working out noticeable solutions. I believe that's the way the hex rod should be set with the longer part inside the ball - make sure that the angle you have it set to - isn't at the extreme where the rod touches the metal. That can have a chocking affect on the tone.
Obviously the least amount of hardware it all needs to go through the better.

cheers
Gavin
 

Ameestafg

New member
I am starting work on some new pieces with Antoine Fafard and it might take a surprising twist.

:eek: Can´t wait to listen to this! Thank you for sharing!
 

DeganMusic

Member
Hello Gavin,

I recently watch the Nord Drum 3Ps video, there are lots of interesting sounds, organic sounds, that are just different and feel good. My question is: Have you been interested on recording an album that incorporates industrial sounds or just an electronic experiment? If no, second question: Have you ever considered doing an other solo album like Cheating the Polygraph, not asking about a remastered edition really, but a brand new album or a TPT one arranged with "Big Band" "Swing" or "Jazz" sounds? ?

Thank you and greetings from ?? as always.

You should listen to OSI - Blood, with Gavin on drums! It's a superb album with a lot of very cool stuff. It's mostly acoustic drums, but they feel a lot more heavily processed than Gavin normally would be.

Incidentally Gavin, I found myself playing a lot of fairly lame "arbitrary" sounding polyrhythmic patterns once I learned how to coordinate 3s against other time signatures - which is interesting texturally, but never really felt like it was adding anything to the music. Then I heard "Be The Hero" from that album, where you start off by playing 3s in an overriding cross-rhythm, but offset so that the groups of 3 line up with the stab, rather than starting at the beginning of the phrase and not necessarily ending with it. Setting up my grooves so the cross rhythm is paying something off at the end, rather than at the beginning feels waaaaaay more satisfying in pretty much every context I've used it in, since it's essentially creating a rhythmic tension using polyrhythm then releasing it properly rather than just suddenly stopping. Did you develop that deliberately when approaching polyrhythm, or was it something that developed more intuitively than that? Especially for the more complex ones you use like 5:4, 3:7, and a few of the even more complicated layered ones on Cheating the Polygraph, where it's harder and harder to just "end" it without it feeling a little strange and cut off, if the endings of both halfs of the rhythm don't match up!
 
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Ameestafg

New member
You should listen to OSI - Blood, with Gavin on drums! It's a superb album with a lot of very cool stuff. It's mostly acoustic drums, but they feel a lot more heavily processed than Gavin normally would be.

Incidentally Gavin, I found myself playing a lot of fairly lame "arbitrary" sounding polyrhythmic patterns once I learned how to coordinate 3s against other time signatures - which is interesting texturally, but never really felt like it was adding anything to the music. Then I heard "Be The Hero" from that album, where you start off by playing 3s in an overriding cross-rhythm, but offset so that the groups of 3 line up with the stab, rather than starting at the beginning of the phrase and not necessarily ending with it. Setting up my grooves so the cross rhythm is paying something off at the end, rather than at the beginning feels waaaaaay more satisfying in pretty much every context I've used it in, since it's essentially creating a rhythmic tension using polyrhythm then releasing it properly rather than just suddenly stopping. Did you develop that deliberately when approaching polyrhythm, or was it something that developed more intuitively than that? Especially for the more complex ones you use like 5:4, 3:7, and a few of the even more complicated layered ones on Cheating the Polygraph, where it's harder and harder to just "end" it without it feeling a little strange and cut off, if the endings of both halfs of the rhythm don't match up!

UFFFF What a great recommendation here, ive never listened to it before and its ??, THANK YOU!! @DeganMusic
 
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