Gavin Harrison here!

Bradley Cooper

Junior Member
I made a clock :)
It is very, very special to me Gavin
You're an incredible musician and my very favourite drummer.
I know, you hear that a lot I'm sure! Still, thank god for musicians like you, you enrich my life immeasurably
I'm hoping you come to Australia sometime. I moved here 3 years ago from South Africa where I met you, have you come to Aus before?
How you're well,
Cheers mate!

So many time puns for a dad to resist... ?
 

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agsoucy

New member
Hey Gavin!

Huge fan of your work. ?

Curious about your tracking process: are you one to EQ pretty heavily on the way in (either on the console or committing to plugins), or do you track pretty clean and do your tone shaping in the box afterwords? I know Auto-Align in a huge part of your sound, but I was just curious about how brave you are with committing to sounds early on.

Thanks so much!
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Warrenoids

I notice you are using Sonor's basic arm cymbal holder attached to the Gibraltar arms themselves. Is this correct? And, why not use the original Gibraltar booms?

It was something I did a few years back when I wanted the Sonor cymbal tops to the arms. Since then I've been using the CRS cymbal tops - I just never got around to changing back the Gibraltar arms.

Another one is, why do you use the 468 on the 12" tom live, but use the 98AMP's on everything else?

Because of the proximity of my ride to the 12" tom and the fact that I sometimes lay the stick across the ride and play into it pretty hard - it was causing a very strange distortion in the 98AMP mic that was originally on that drum.

Hi Bradley Cooper

I know, you hear that a lot I'm sure! Still, thank god for musicians like you, you enrich my life immeasurably
I'm hoping you come to Australia sometime. I moved here 3 years ago from South Africa where I met you, have you come to Aus before?


thanks for the kind words. Nice clock ! Yes I've been twice to Australia with Porcupine Tree 2008 and 2010.

Hi Agsoucy

Curious about your tracking process: are you one to EQ pretty heavily on the way in (either on the console or committing to plugins), or do you track pretty clean and do your tone shaping in the box afterwords? I know Auto-Align in a huge part of your sound, but I was just curious about how brave you are with committing to sounds early on.

I used to gently eq on the way in - but now I just record flat and do all the processing after. My monitor section allows me to eq/compress/reverb whatever I want for my headphones without it getting passed on to the computer.

cheers
Gavin
 

DeganMusic

Member
I made a clock :)
It is very, very special to me Gavin
You're an incredible musician and my very favourite drummer.
I know, you hear that a lot I'm sure! Still, thank god for musicians like you, you enrich my life immeasurably
I'm hoping you come to Australia sometime. I moved here 3 years ago from South Africa where I met you, have you come to Aus before?
How you're well,
Cheers mate!

So many time puns for a dad to resist... ?
Not sure if you've heard the GH05Ric record "Drop", but,

Clock on the wall,
Suggests to me it's time
To be, leeeeeeeeeeeaaaaaaaaaaaaving!


Or maybe praaaaaaaaactiiiiiiiiiicing in my case
 

Warrenoids

Active member
Hello Gavin!
I have a question regarding double pedals, are you using the Pearl Z-Links on your Speed Cobras? I can see the resemblance, but I'm not quite sure.

With you having played double pedals for a number of years, what difference does this make?
 

sal_tpa

Junior Member
Hello Gavin, I was wondering if you had any tips on activating your drop clutch so quickly. In “Anesthetize”, I notice that towards end of the first chorus of the chart in Rhythmic Composition your last hi-hat foot is on beat 2 right before you do a fill leading into the heavy section where you’re back on the double pedal. When I practice it I try to hit the drop clutch with the stick as I’m hitting the crash but never seem to get it. I have seen live that you have the drop clutch engaged before this section even happens but wondering how you did it for the studio, if it wasn’t edited in from another take. Thanks!

- Salvador
 

12:7

New member
Hi Mr Gavin,

in Break it All the 5/8 part...is it 5 against 3?

Take care


I think i got it wrong but it almost sounds like it.

Another question...in Cheating the Polygraph is the chorus 5 against 3?...and do you keep the Bassdrum the same in the heavy section after the ambient part as in the chorus?

thx
 
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Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Warrenoids

I have a question regarding double pedals, are you using the Pearl Z-Links on your Speed Cobras? I can see the resemblance, but I'm not quite sure.
With you having played double pedals for a number of years, what difference does this make?


It's actually made by Trick. Looks very similar. It's certainly well made and smooth. The problem is never the 'drive shaft' link or the pedals - it's my temperamental feet ! Let's put it this way - I couldn't play any better or faster with it.

Hi Salvador

I was wondering if you had any tips on activating your drop clutch so quickly. In “Anesthetize”, I notice that towards end of the first chorus of the chart in Rhythmic Composition your last hi-hat foot is on beat 2 right before you do a fill leading into the heavy section where you’re back on the double pedal. When I practice it I try to hit the drop clutch with the stick as I’m hitting the crash but never seem to get it. I have seen live that you have the drop clutch engaged before this section even happens but wondering how you did it for the studio, if it wasn’t edited in from another take.

it was many years ago that I recorded that so I don't clearly remember - but I can think of two likely answers. First is that I might have had two hi hats set up next to each other. The other is the Tama Cobra Clutch that I used a lot around that period - where you can set up for a 'sloshy' hi hat and you operate it with your foot.

Hi MattH10

Have you tried the Tama Dyna-Sync pedals?

yes I have and they were excellent - but I couldn't play any easier or better with them compared to the chain version that my feet had got used to in the previous years. It felt like I'd have to play them for quite a while to get used to the different (but equally good) feeling. I think all pedals are certainly capable of playing much better than my feet can keep up with - so in the end I just use the ones that feel right to me and that my feet are comfortable with.

Hi 12:7

in Break it All the 5/8 part...is it 5 against 3? I think i got it wrong but it almost sounds like it.

the drums are certainly playing in 5/8 and the bass sounds like it's playing groups of three - but they are not continuous threes so I don't think it could be seen as 5 against 3.

Another question...in Cheating the Polygraph is the chorus 5 against 3?...and do you keep the Bassdrum the same in the heavy section after the ambient part as in the chorus?

To my recollection there's no 5 against 3 in that tune. There is a rhythmic illusion in the section that starts around 5:45 (maybe that's what you are calling the 'heavy section'?) in that the bass drum plays a pattern in 5 along with the guitars but the hands play a straight 4/4 pattern over the top. The bass drum line in the chorus is actually different. If you're interested - there is a transcription book of 20 Porcupine Tree tunes (called Rhythmic Composition) brilliantly transcribed by Terry Branam and Cheating The Polygraph is one of them.

cheers
Gavin
 
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bananers

Junior Member
If you're interested - there is a transcription book of 20 Porcupine Tree tunes (called Rhythmic Composition) brilliantly transcribed by Terry Branam and Cheating The Polygraph is one of them.
@12:7

I've been working through this tune recently with Rhythmic Composition - super useful particularly for the crazy fill right at the end which I'm still practising getting it smooth on the kit ! I found the last chorus particularly challenging with where you accented the hihats, its a bit of a mind-bender ?
 

MattH10

Member
Thanks for the reply! I’m excited to try the Dyna-Syncs out next week.

Do you and Terry Branam still keep in touch? It would be amazing to get a book of transcriptions for your solo Cheating The Polygraph record and of your work on Chemical Reactions.
 

ZGR8DCVER

Member
Hi Gavin,

I hope you are well! You continue to inspire me and my playing every day!

-What cymbal are you using the bell on in the intro to "Leave Me Be?" Love it!

-What crash is your "primary" over the hats and 8" tom in "The Final Thing on My Mind" live video? I cannot figure it out, even with pausing.

-Lastly, I see you are using the K Sweets for crashes all around now. Of the 2 you play what is your favorite? ....if you only had to pick one? I am looking to add a new "primary" crash above the hats and cannot decide what size to get! 18, 19, or 20? Related to question 2 ;)

Always appreciate your input, you are pure class!
 

DeganMusic

Member
Gavin, I know you like to play a lot of jazz in your down time, and don't take on projects that you won't musically enjoy - but of the various bands and projects you've been involved with, are there any pieces that stand out as being particularly satisfying to play (as opposed to a satisfying composition)?

Likewise, are there any songs/ grooves you particularly enjoy spending a lot of time on from bands you've not been part of? I've heard you playing or quoting a lot of Steve Jansen drum grooves, but it's hard to imagine you jamming out Meshuggah tracks while you were picking apart some of their ideas!
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi MattH10

Do you and Terry Branam still keep in touch? It would be amazing to get a book of transcriptions for your solo Cheating The Polygraph record and of your work on Chemical Reactions.

Indeed it would. Yes I'm still in touch with Terry. We're working on something new at the moment - but not a transcription book at the moment.

Hi ZGR8CVER

-What cymbal are you using the bell on in the intro to "Leave Me Be?" Love it!

I think it's the K Zildjian 22" Custom High Definition Ride

-What crash is your "primary" over the hats and 8" tom in "The Final Thing on My Mind" live video? I cannot figure it out, even with pausing.


That's a 20" K Custom crash (prototype)

-Lastly, I see you are using the K Sweets for crashes all around now. Of the 2 you play what is your favorite? ....if you only had to pick one? I am looking to add a new "primary" crash above the hats and cannot decide what size to get! 18, 19, or 20? Related to question 2


I think the 20" K Sweet crash is my favourite - but they're both excellent.

HI DeganMusic

I know you like to play a lot of jazz in your down time, and don't take on projects that you won't musically enjoy - but of the various bands and projects you've been involved with, are there any pieces that stand out as being particularly satisfying to play (as opposed to a satisfying composition)?

I think it's basically the same thing. If it's a fantastic composition and I all I need to do is quarter notes on a ride cymbal - then I'm very satisfied.
I suspect what you're after are more 'drummy' tunes. A lot of the songs I made with 05Ric on the 3 albums we did together were great fun and challenging to play. Off the top of my head songs like: Sailing, Life, Clock, Circles, Scar, Beyond The A, Goodbye, Prize, Own

Likewise, are there any songs/ grooves you particularly enjoy spending a lot of time on from bands you've not been part of? I've heard you playing or quoting a lot of Steve Jansen drum grooves, but it's hard to imagine you jamming out Meshuggah tracks while you were picking apart some of their ideas!

I can't remember playing along to really 'drummy' tunes of other bands whilst trying to work them out. When I hear something I really like - my first reaction is not to run to the drums and see if I can play it - but rather try to understand what is it that makes me 'feel' a certain way about it. Then later down the road I might remember that 'feeling' without remembering what the exact details were - so I can try to recreate something with a similar feeling. For example - whilst writing the Pineapple Thief song "Try As I Might" (with Bruce Soord) the feeling in the chorus I was thinking of was "Fame" by David Bowie. Of course the 2 songs are nothing like each other - but I wanted to emulate that 'really straight simple groove' feeling that I got from "Fame". I'm sure nobody would have recognised that - but sometimes that's how things influence me.

cheers
Gavin
 

12:7

New member
Hi Warrenoids

I have a question regarding double pedals, are you using the Pearl Z-Links on your Speed Cobras? I can see the resemblance, but I'm not quite sure.
With you having played double pedals for a number of years, what difference does this make?


It's actually made by Trick. Looks very similar. It's certainly well made and smooth. The problem is never the 'drive shaft' link or the pedals - it's my temperamental feet ! Let's put it this way - I couldn't play any better or faster with it.

Hi Salvador

I was wondering if you had any tips on activating your drop clutch so quickly. In “Anesthetize”, I notice that towards end of the first chorus of the chart in Rhythmic Composition your last hi-hat foot is on beat 2 right before you do a fill leading into the heavy section where you’re back on the double pedal. When I practice it I try to hit the drop clutch with the stick as I’m hitting the crash but never seem to get it. I have seen live that you have the drop clutch engaged before this section even happens but wondering how you did it for the studio, if it wasn’t edited in from another take.

it was many years ago that I recorded that so I don't clearly remember - but I can think of two likely answers. First is that I might have had two hi hats set up next to each other. The other is the Tama Cobra Clutch that I used a lot around that period - where you can set up for a 'sloshy' hi hat and you operate it with your foot.

Hi MattH10

Have you tried the Tama Dyna-Sync pedals?

yes I have and they were excellent - but I couldn't play any easier or better with them compared to the chain version that my feet had got used to in the previous years. It felt like I'd have to play them for quite a while to get used to the different (but equally good) feeling. I think all pedals are certainly capable of playing much better than my feet can keep up with - so in the end I just use the ones that feel right to me and that my feet are comfortable with.

Hi 12:7

in Break it All the 5/8 part...is it 5 against 3? I think i got it wrong but it almost sounds like it.

the drums are certainly playing in 5/8 and the bass sounds like it's playing groups of three - but they are not continuous threes so I don't think it could be seen as 5 against 3.

Another question...in Cheating the Polygraph is the chorus 5 against 3?...and do you keep the Bassdrum the same in the heavy section after the ambient part as in the chorus?

To my recollection there's no 5 against 3 in that tune. There is a rhythmic illusion in the section that starts around 5:45 (maybe that's what you are calling the 'heavy section'?) in that the bass drum plays a pattern in 5 along with the guitars but the hands play a straight 4/4 pattern over the top. The bass drum line in the chorus is actually different. If you're interested - there is a transcription book of 20 Porcupine Tree tunes (called Rhythmic Composition) brilliantly transcribed by Terry Branam and Cheating The Polygraph is one of them.

cheers
Gavin
Thank you very much, im surely gonna check it out.

Love the 2 and 4 over the 5 bass drum pattern especially the live version:

Where you dont play an entrance fill to this section it hits that much harder.

Thx again
 

DeganMusic

Member
What a tease. What is this now? I’m not asking you, I’m telling you
I'm hoping this isn't King Crimson transcriptions - I've been working on the Indiscipline Mexico City recording for an absolute age now, sods law it gets released as an official transcript just as I start getting toward the end hahaha!

Gavin probably shouldn't acknowledge these messages - else the thread will turn into an endless "tell us what you're working on before it's announced" thread! I'm excited to find out when the time is right!
 

MattH10

Member
When I go to get the snare wires evenly set on the reso and have the head tuned pretty tight, I’ve been encountering a noise after I hit a rim shot that sounds “tinny” in nature occurring with the snare strands. It’s usually a second or so after I hit the rim shot. It’s a very short sound but noticeable. Any suggestions with this?

Thank you so much for taking time to answer the questions on this forum. I greatly appreciate it.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi MattH10

When I go to get the snare wires evenly set on the reso and have the head tuned pretty tight, I’ve been encountering a noise after I hit a rim shot that sounds “tinny” in nature occurring with the snare strands. It’s usually a second or so after I hit the rim shot. It’s a very short sound but noticeable. Any suggestions with this?

It's hard to say without being in front of the drum, but - I would take the wires off - de-tune the bottom head right down to totally loose (check it's not got any tiny holes in it) and spin it round 90 degrees. Then tune it up again and put the wires back on.

best of luck
Gavin
 
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MattH10

Member
Thanks for the insight, I’ll make sure to bear that tip in mind.

You’ve talked about architecture inspiring you in how you play, any top 3-5 cities or places you found to be the most inspiring?
 
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