Gavin Harrison here!

[MGC101]

Yes I fully align the room mics with the snare top. Same with the overheads. Also the hi hat and snare bottom - aligned with the snare top. The two bass drum mics are not aligned to the snare but to each other. I usually don't align the toms - it seems to sound better to my ears without it.

Thank you so much for this info. I always had been aligning the toms to their closest overhead mic, which I believe is a recommendation from Sound Radix. I will definitely try not aligning at all. And good to know about the room mics.

With the drums in the mix. If you solo the drums - you will become over analytical and end up moving too many things - perhaps unnecessarily.

I appreciate this and a great thing to remind myself while listening back to takes I've recorded.

Thank you Gavin! It is really impossible to state how much I have learned from this thread over the years.

Michael

 

[drumstu]

Gavin,
Please forgive me if this has been asked previously; I just purchased a new kit and have a Kelly Shu as well as an external BD mic stand. My reso-head has the typical 4" hole. I have a D-112 and an Audix D6.
Question: If I only use one mic which is the case, would you recommend using it inside the drum or not?

Big thanks. Like everyone else, I love your playing and have for years.
Stuart

 

[Gavin Harrison]

I plan to buy a new drum kit for me, it would be the sonor delite cherry... Do you have any advice for me?

Enjoy it. They are fantastic drums and I had no problems with them at all.

I have a D-112 and an Audix D6.
Question: If I only use one mic which is the case, would you recommend using it inside the drum or not?

Well I guess it depends what kind of sound you are going for and if you use any damping inside the drum? I have, many times, used the Audix D6 just inside the hole - mounted on an external mic stand - and it sounded good to me - but experiment how far in or out of the hole you place the mic

cheers
Gavin

 

[DaniW]

Hello Gavin!! It is a privilege for me to be able to hear you, see you, and talk to you!!
You are an inspiration to many of us!!

I'd like to ask you a couple of questions if it's not too much trouble.

You recently commented here that on a PT recording you used a bass drum placed in front of yours.
How is that setup exactly?
Only the reso patch on the second bass drum? How are the micros located? How many?

I had a Sonor Force 3001 kit for 15 years and recently purchased a Sonor Prolite set. toms 8x7, 10x8, floor toms 14x14, 16x16.
Bat Emperor coated and Ambassador clear Reso
Sonor drums are really well made.
I liked the idea of having two treble toms with the contrast of the two floor toms.
I have always liked to tune the drums to the same note on both heads for maximum sustain.
However if I tune like this the 16x16 is dead.
Could it be due to depth?
Being a square tom, is there too much length in that case?
The 14x14 doesn't do that, it's alive.

Again thank you for taking your time to help us and wish you the best.

 

[Gavin Harrison]

You recently commented here that on a PT recording you used a bass drum placed in front of yours.
How is that setup exactly? Only the reso patch on the second bass drum? How are the micros located? How many?

Basically it was a spare bass drum that had both front and back heads on it - and was placed a couple of feet infront of the bass drum that I was actually playing. It had a heavy blanket over it so that it's mic didn't pick up too much of the cymbals. Both bass drums were mic'd of course. The distant one just added some low ring to the one I was playing.

However if I tune like this the 16x16 is dead.
Could it be due to depth?
Being a square tom, is there too much length in that case?

I can't really tell without seeing/hearing the drum

best of luck
Gavin

 

[dave mc]

Hello Gavin,

Hope you are doing well.

I have a question about the Pineapple Thief album 8 Years which I guess was a bonus disc to Your Wilderness. I bought it have listened to it and like it very much but it doesn't sound like you. Are on it at all? I have googled it like crazy but cannot find any information if you are the drummer or who it was?

Also, I believe in listening to both your works in Pineapple Thief and Porcupine Tree you use more cross sticks in Pineapple Thief. I was wondering if there is any special criteria within a song that you would say....great part for a cross stick??

Thanks so much. Take care....Dave

 

[Gavin Harrison]

I have a question about the Pineapple Thief album 8 Years which I guess was a bonus disc to Your Wilderness. I bought it have listened to it and like it very much but it doesn't sound like you. Are on it at all? I have googled it like crazy but cannot find any information if you are the drummer or who it was?

I don't play on that album - I don't think any drummer did.

Also, I believe in listening to both your works in Pineapple Thief and Porcupine Tree you use more cross sticks in Pineapple Thief. I was wondering if there is any special criteria within a song that you would say....great part for a cross stick??

The Pineapple Theif music tends to be less aggressive than Porcupine Tree. There's no particular criteria - if I can imagine a good 'cross-stick' part it's usually for a song with a lot of dynamic shape.

cheers
Gavin

 

[xdbk11]

Hi Gavin,
Just want to say that I have enjoyed your collaborations with Gleb Kolyadin very much over the last few years. The new album, The Outland, in particular. Such imaginative drumming along with beautifully percussive piano just works in a way that I’ve never imagined before. I wonder if you can shed any light onto the way you approach this collaboration in general. And more specifically, if you could elaborate on the piece “Voyager” from that album. I find it to be such a complete musical arc from beginning to end with you truly pushing boundaries of playing in new and creative ways.
Cheers,
Kirkus

 

[Gavin Harrison]

Just want to say that I have enjoyed your collaborations with Gleb Kolyadin very much over the last few years. The new album, The Outland, in particular. Such imaginative drumming along with beautifully percussive piano just works in a way that I’ve never imagined before. I wonder if you can shed any light onto the way you approach this collaboration in general. And more specifically, if you could elaborate on the piece “Voyager” from that album. I find it to be such a complete musical arc from beginning to end with you truly pushing boundaries of playing in new and creative ways.

Thanks. I really enjoyed it too. Gleb sends me the pieces without drums and I just decide what and where to play. I find his compositions inspiring as he's very musical in his approach. It's an intriguing puzzle so I just try to imagine what the drums could contribute. To add drumset to classical piano + orchestra + choir feels like a path not usually taken by the drums - so there are no rules. Of course I try a few different things until I find a drum design that I like and I think suits the composition. Sometimes I just pick out the piano syncopations and double them on the drums/cymbals - sometimes I just play straight and go against them - sometimes the best thing to do is nothing. So there's a lot to decide and Gleb isn't in the room with me for guidance - so I just have to go with what I think is right. Voyager is a long piece so there are a lot of possibilities to shape the dynamics. I try to have a 'zoomed out' look at the whole thing and base my design on the whole thing.

cheers
Gavin

 

[psycle_1]

Gavin,

I recently got my hands on a pair of SHAR 2 sticks. At first glance at the specs before ordering I was concerned about the weight as I don’t particularly care for a heavy stick with my small hands and I saw that they were a bit larger diameter than what I’m used to. My longtime stick preference has been the Promark 420 or 420x ( .565”, 16 1/4” long).

Once I held the SHAR 2 the weight concern was no longer an issue. These sticks are exceptionally balanced for me and feel lighter than the 420’s. I’m finally able to make the stick do all the work for me and play things I haven’t been able to play since marching band in high school. What an excellent design sir! Congrats!

 

[Liam]

Hi Gavin,

I know in interviews you have mentioned how in the past you have worked to develop a deeper groove and pocket more like Porcaro or Gadd. Would you be able to explain the exercises and tools you used to help you?

Many thanks,
Liam

 

[Gavin Harrison]

I know in interviews you have mentioned how in the past you have worked to develop a deeper groove and pocket more like Porcaro or Gadd. Would you be able to explain the exercises and tools you used to help you?

I think the only thing that can really help you is your ears. If you listen to enough of that kind of 'deep pocket' 'laid back' time you will eventually absorb it and be able to recognise the 'sound of it' and how it makes the music feel. You could say the same about trying to develop an authentic feel for - Latin, Swing, Reggae, Funk etc, even Dilla. It needs to get into your blood and you start to feel it. Then you have a chance to apply it to your own playing by attempting to emulate that feeling. I can't think of any particular exercise other than being aware of your time placement and how it feels when you hear it recorded. I found it very useful to record myself and sometimes I'd play it back slowed down. In my early days I had a cassette recorder with a pitch wheel so I could slow the tape down - nowadays you can do it with a computer. That way it's easier to hear the time in between the notes. It's like a 'timing' magnifying glass.

cheers
Gavin

 

[Supergrobi]

Ciao Gavin, è un onore per me salutarti di persona qui. Ma ti seguo dal 1993 (Battiato "Caffè de la paix") etc etc fino ad oggi. Non avrei mai pensato di poterti salutare.... Suonavo la batteria da ragazzo.. allora va bene... ma sono un buon ascoltatore... Il mio piacere è di conoscervi di persona.Vivo in Italia (Salerno). Ho ascoltato quasi tutte le canzoni che suoni sia in studio che dal vivo ed è sempre un'emozione. Grazie e scusa per l'intrusione ma dopo trent'anni........ Grazie e buon lavoro.

Please note that the language used on this forum is English.

 

[flavio72]

Hi Gavin, it's an honor for me to greet you in person here. But I've been following you since 1993 (Battiato "Caffè de la paix") etc etc until today. I never thought I'd be able to greet you in person after thirty years. I used to play drums as a kid but then switched to guitar. But I remained a good listener... My pleasure is to meet you in person. I live in Italy (Salerno). I've listened to almost all the songs you play both in the studio and live and it's always a thrill. Thanks to Druummerworld who granted me this post......... Hello and good work.

 

[SalvadorDDVS]

Hello Gavin after getting Effortless Mastery it made me realize you play in “The Space” as Kenny Werner labels it. I wanted to ask

1) Do you still do the meditations?

2) Could you elaborate on the differences you experienced drumming after that book?

Cheers
Salvador

 

[Grawe]

Hi Gavin
One of the reasons to join this forum was to tell you directly, how much I liked the Porcupine Tree concert last week in Schwetzingen (Southern Germany).
Standing close to the stage during 'line check' few minutes before the concert started, I had the chance to hear your drums very 'pure' without any amplification. And these Sonors just sounded excellent, really singing and very well tuned to each other. Also your cymbals were just 'too good to be true' for Open Air situations, where everything can happen. Your drumming was beyond words, as always. I had the impression you're still improving. The missing bass player didn't help, I guess.
Just after the concert, I heard, this was the last one of the tour. And I hope, the other rumours in the audience were wrong who claimed, this might have been the last Porcupine Tree concert at all. That would be a great loss.
Greetings from Germany and keep up your great drumming
Markus

 

[Gavin Harrison]

Hello Gavin after getting Effortless Mastery it made me realize you play in “The Space” as Kenny Werner labels it. I wanted to ask
1) Do you still do the meditations?
2) Could you elaborate on the differences you experienced drumming after that book?

No I don't meditate as such - but I do like some quiet time 30 minutes before going on stage to try to clear my mind and focus on what's about to happen. I know from experience you really need to go on stage in the right frame of mind - not flustered, anxious or distracted. I think that's what I got from the book (which I haven't read in 20 years but you have reminded me to go back and read it again). On the last Porcupine Tree tour we played big enough places that we could all have our own dressing rooms - and that really helped. When I'm on stage I try to get in a good head space where I'm 'in the moment' and really listening to everything around me.

cheers
Gavin

 

[spelman]

Hi Gavin!

1) What stickbag(s) do you use? (Yeah, seriously). Different ones for different projects?

2) You seem to use the same type of China cymbal, (for example the 18" Z Custom) sometimes with bell up, sometimes bell down. Why is that?

Thanks for your time!

 

[Gavin Harrison]

1) What stickbag(s) do you use? (Yeah, seriously). Different ones for different projects?

It is the Ahead Armor Stick Silo and I just leave it free standing - not attached to the drums. I have to leave the top off because my sticks are too long for the bag.

2) You seem to use the same type of China cymbal, (for example the 18" Z Custom) sometimes with bell up, sometimes bell down. Why is that?

I haven't used the 18" Z Custom for quite a few years now - but when I did - I used it upside down. Since 2014 I have been playing the 22" Swish (without rivets) with the bell right side up so I can occasionally ride on it.

cheers
Gavin

 

[sahilsarin]

I think I have had 6 Sonor sets in my possession in the last twenty years (and I have probably played another 60 or 70 sets worldwide at drum clinics etc). Sometimes they have been Birch or Maple or Beech with every type of shell thickness they offer. I have never played a bad one. They are just really well made drums. I don't think you can really go wrong. Personally I prefer 8x7, 10x8, 12x9, 15x13, 18x15 and a 22x17. I have played lots of other sizes. I struggle a little bit with very long or very short toms - they just don't suit the sound I try to get. Remember that most of the sound is you. The way you strike the drum is really a huge part. The heads you choose and the way tune is also a big thing. The last set I had made was all Birch medium shells for the toms and heavy shell for the bass drum. I also have a maple kit with identical sizes and shell thickness - it's almost impossible to choose one over the other.


Unfortunately that job comes down to me. I'd rather not be distracted with it - but someone has to do it. I run Logic Pro on a MacBook Air. Every song is just a block of audio in one huge 3 hour arrangement page. In other words - I don't have 21 different Logic songs open at the same time - I think that would be prone to crashing.

Regarding your question: "Will AI take our jobs"?
Well it already happened in 1980 with the Linn Drum LM1 - and continues to this day with drum machines - or drum programming - especially with pop music where quite often a dead straight beat without a lot of variation is what's wanted. I don't hear that much in genres like progressive rock or jazz.

cheers
Gavin

Thank you Gavin! I use Logic exactly the same way when playing live.

- Do you send timecode or some other protocol to FOH to sync videos with the audio playback? How is video being run?
- Did you at any point experiment with sending bunch of Aux's instead of Stereo Out to FOH for playback (for more control over the sound)?

Thank you very much for answering and your insight.