Gavin Harrison here!

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Croc

Hoping that you and your Mighty Crim bandmates travel safely and have a great time touring the States in the upcoming leg. Looking forward to seeing you, Pat, and Jez ripping it up, again!

thanks - we're here in the States rehearsing for the tour already. See you soon

Hi Julia

Just curious, in some of the songs in The Pineapple Thief, there is some mallet percussion, especially marimba (and maybe occasionally vibes?) My question is, do you record yourself playing those parts, or do you program them in?

yes I recorded myself playing the marimba. There's no vibraphone - maybe you're hearing my Nord Drum 3 pad?

cheers
Gavin
 

Julia Browning

New Member
Hi Gavin,

I was able to see the King Crimson concert tonight in Texas, and it was amazing! I’ll definitely count it as a once in a lifetime experience. The level of communication needed between the whole band is astounding. Thanks for all you do.

Two questions: What kind of head do you use for the resonant side of your bass drum, and how many sticks do you bring with you per concert?
 

roncadillac

Member
Got to see King Crimson in St Augustine FL a few days ago, fantastic show! You all did a great job but I was especially impressed with your playing, Gavin.
Cheers!
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Julia

What kind of head do you use for the resonant side of your bass drum, and how many sticks do you bring with you per concert?


the front head has an artwork print on it - it's quite dead and doesn't really resonate at all. I guess I have about 100 pairs of sticks on the tour with me. I might break about 2 or 3 sticks a night on average. On stage I have about 10 pairs.

Cheers
Gavin
 

roncadillac

Member
Hi Julia

What kind of head do you use for the resonant side of your bass drum, and how many sticks do you bring with you per concert?


the front head has an artwork print on it - it's quite dead and doesn't really resonate at all. I guess I have about 100 pairs of sticks on the tour with me. I might break about 2 or 3 sticks a night on average. On stage I have about 10 pairs.

Cheers
Gavin

It may not resonate BUT that cannon punches hard from mid theater (I had seats literally right behind the board). Cheers!

IMG_20210724_212442261.jpg
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Seafroggys

Silver Member
I'm a few days late, but I drove 600 miles from Portland to Concord to see Crimson last Thursday. First time for me, although I've been a fan since 2005. It was so amazing. I was just to the left of you, about 10 rows back or so. The three of you did such a fantastic job, I've never seen a drum performance like that before. I'm also a Sonor fanboy! :D

(I really wish you guys did Epitaph, but playing 3 songs off of Red is more than enough to compensate)
 

Otto

Platinum Member
Love the age range depicted in the audience by those photos.

Really says something about the music's life outside of the performance hall.
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Stevesmithfan

What 3 main Zildjian crashes are you using currently? What is your favorite sized Sweet Crash?

The three main crashes are - 20" Sweet Crash, 17" A medium Crash, 19" Sweet Crash. Of the Sweet Crashes I think I slightly prefer the 20" - but they are both great.

Hi Seafroggys

(I really wish you guys did Epitaph, but playing 3 songs off of Red is more than enough to compensate)


We normally play Epitaph every show - strange that we didn't that night.

cheers
Gavin
 

12:7

New Member
Hi Mr Gavin,

what do you think of Alfredo Golino?
I just discovered him now and he's absolutely amazing.
Thanks for your input.

Take care
 

Jan Kohrt

New Member
Hey Gavin,

I recently did a Zoom class with Mike Mangini. It was based on the new DT song and how to properly learn the complex structures. Mike taught about visual imagery and shapes, e. g. a "triangle - shape" (from snare to two toms). This way one could memorize the shape structure without having to count to 17, for example. Of course you can break down complex time signatures like 17 into 5,5,7 but I was wondering if you also have a special method to learn complex songs, when they're presented to you either in a band situation or for a recording session.

cheers
Jan
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi 12:7

what do you think of Alfredo Golino? I just discovered him now and he's absolutely amazing.

yes he is an absolutely great drummer and one of Italy's finest ever players. I have know about him since 1989 when I went to work in Italy.

Hi JanKohrt

I recently did a Zoom class with Mike Mangini. It was based on the new DT song and how to properly learn the complex structures. Mike taught about visual imagery and shapes, e. g. a "triangle - shape" (from snare to two toms). This way one could memorize the shape structure without having to count to 17, for example. Of course you can break down complex time signatures like 17 into 5,5,7 but I was wondering if you also have a special method to learn complex songs, when they're presented to you either in a band situation or for a recording session.


I don't personally associate shapes to help with odd number counting - but it sounds like an interesting method. Obviously works well for Mike!
I think I just need to be able to sing the riff or bass line and internalise it. I almost never count.

cheers
Gavin
 

sahilsarin

New Member
Hi Gavin!
Thank you for a hilarious and very insightful session with John :)

- Has using the Kelly Shu mounts been sonically advantageous to both or any of the kick drum microphones as compared to when mounted on a stand and a pillow? Or is it more for practical reasons to get the D12VR in that position facing the beater?

- What is your opinion on using the Earthworks SR20 as compared to DM20 on the snare? Do you prefer blending the SR20 with your Shure SM57 (Top) or using them standalone?

- When using standalone, would you happily use the Shure SM57 over the SR20 or do you feel that it is a compromise?

Thank you!

Cheers
Sahil
 

Julia Browning

New Member
Hi Gavin,

When you tour with The Pineapple Thief, do you normally set up stage left, like you do in King Crimson?

Best,
Julia
 

Gavin Harrison

DRUMMERWORLD PRO DRUMMER
Hi Sahilsarin

Has using the Kelly Shu mounts been sonically advantageous to both or any of the kick drum microphones as compared to when mounted on a stand and a pillow? Or is it more for practical reasons to get the D12VR in that position facing the beater?

I don't think there's a noticeable sonic difference but there is great consistency in having the mic in the exact same position all the time - especially on tour. Kick mics are very sensitive to proximity. If they are an inch or two closer (or further away) - that affects the sound a lot.

- What is your opinion on using the Earthworks SR20 as compared to DM20 on the snare? Do you prefer blending the SR20 with your Shure SM57 (Top) or using them standalone? When using standalone, would you happily use the Shure SM57 over the SR20 or do you feel that it is a compromise?

I preferred the SR20 a lot more than the DM20 on the snare drum. I do record a Shure SM57 as well - but lately I prefer the sound of the SR20 so I tend to just use that. However - you do need to be careful to not having the SR20 close to the hi hat as it can distort when you play a loud open hi hat note.

Hi Julia

When you tour with The Pineapple Thief, do you normally set up stage left, like you do in King Crimson?

Stage left seems to be my default position in both bands !

Hi Roger

I was wondering how your connection with Tama came about. How did you end up with the Speed Cobra pedals?


After I played the Modern Drummer festival in 2008 I met Aaron Vishria from Tama USA. Sometime later he asked me if I'd like to try a new pedal that Tama had just released called SpeedCobra. No obligation - just a discrete trail. He sent me a pair and I absolutely clicked with them. I think every pedal has a 'feel' of it's own and it just felt right with my (temperamental) feet.

cheers
Gavin
 

Adam Sayers

New Member
Hi Gavin, hope you're well and enjoying downtime from the mighty Crim' - although I know it will probably be spent practising!

I just wanted to ask you for some advice on an issue I'm currently facing in the early stages of my journey as a professional drummer. I know it has probably always been the case to some extent, but it seems that nowadays in order to really support yourself as an aspiring professional you need to have your fingers in many pies. I've been teaching and playing in bands for a number of years, and I've been fortunate enough over the past year or so to be able to venture down the route of working as a remote session drummer too.

(To provide a bit of context, myself and a friend decided to team up and open a studio together specialising in remote session drumming at the back end of 2019 - granted it probably wasn't the greatest time to do so with everything that was to follow! That being said after a rocky year or so we're just about ready to open our doors and offer our services to the public).

The issue I'm having is recording with my main band. I'm sure you've been subject to many a band member, artist, engineer or producer being very particular about what you play. Which I've accepted as the nature of being in a certain band or situation, there is usually some amount of democracy/fair say, and a level of professionalism to adhere to. However, the issue I'm having is that the main songwriter in this band or 'main creative influence' wants to have full control over my drum sound. Which once again I'm willing to allow to some extent, given that it's justified for a textural purpose or sonic effect. But in all honesty, he's not only butchering the sound of the drums by not understanding the process and intricacies of working with such a complex instrument, but he's also ruining the intention of the parts and their execution.

I'm stuck in a difficult situation, apart from this issue, everything else with regard to the band is as near perfect as I could ask for. It's a pretty good gig to have at this stage of my 'career' and there's plenty of opportunities for me with this band - although that isn't my primary motivation! I know you're someone who is very particular about your sound since it reflects the intention of your parts too (and I must say as well as being such a beautiful sound it's an instantly distinguishable one too!).

Looking back on your own career, if you've experienced a similar issue/situation what did you do?
Did you accept it for what it was and where you were at the time in your career? Or has it always been something that you've been able to maintain control of?

As a final note, I'm aware that this situation can occur when working as a professional remote session drummer. The overall sound can be ultimately at the mercy of the client, which will be the case until I potentially reach a point or level where 'my sound' is desired. But that's just something to aspire to for now.

If you've made it this far thank you for taking the time to read all of this, I tried to condense it down but at the same time wanted to provide as much detail about the matter as possible. It's a rarity to be able to be in direct contact with one of your greatest influences, let alone to have them take the time to respond to your questions. I think I can speak on behalf of everyone in this thread to say thank you for doing what you do!

All the best
Adam
 
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