Gavin Harrison here!

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!
 
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!
 
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
 
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
 
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!
 
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.
 
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
 
Last edited:
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?
 
Hey Gavin,

As a drummer and someone interested in audio engineering, would it be possible for you to make a couple of videos giving us a tour of your studio talking about your recording setup, microphones, presets, drums, cymbals, and other aspects of your recording? If you could also make a video about your tuning method that would be great.

Thanks,
Liam
 
Thank you for this Gavin. I managed to put all the tempo changes in my DAW fairly accurately, although the song rushes a little bit in that section.

I'll report to you when the recording is finished. Again, thank you very much.

On that note, I decided to just reuse your arrangement for the three drummer lineup (with me handling yours and Pat's part). In the mid section (that part where there's the 7 pattern (da-da-da) and then Robert and Tony (Trey, previously) plays a spree together) I'm going to handle the beat under the spree while the other drummer plays the cymbal chokes. For those who doesn't know, the original piece has a quite different arrangement compared to how Crimson plays it today; I'm just using the original song with the three drummers arrangement laid on top (save a few modifications).
 
Last edited:
Hey Gavin,

Song requests may not be appropriate here... BUT!

I've recently listened to the track 'Gutter' by Lunatic Soul and it is crying out for your playing on it! Would you be willing to do a cover of it and add drums to it?

Just keep hearing your Toms in my head! Would be insane if Mariusz gave you the stems!

Cheers,

Luke
 
Last edited:
Hi Gavin,

I’ve just listened to your conversation with Sarah Hagan (which everyone should check out!
) and am curious about a couple things. First, you’ve identified that you play with a lot of velocity, however you came from jazz and brushes. Was it your work with Iggy Pop that gave you the opportunity/realization that you could play more loudly, was it your exposure to Meshuggah, was it a suggestion from a bandmate, or all/none of the above? Second, being among musicians at a young age and in a musical household, what were early experiences like with others who had poor sense of time? Did you feel compelled to help them, did it just get on your nerves, was it no concern to you? Growing up playing in church I often found myself being conductor to less rhythmically convicted bandmates and felt responsible to make them aware of their metric oversight, which made for a less enjoyable experience all around.

Thank you,

Brian
 
It seems some messages/replies got lost in a crash on Drummerworld that happened about a week ago.

Hi Luke

I've recently listened to the track 'Gutter' by Lunatic Soul and it is crying out for your playing on it! Would you be willing to do a cover of it and add drums to it?

I don't really make 'covers' - but the song is nice as it is - I don't think it needs me all over it.

Hi BrianBjur

First, you’ve identified that you play with a lot of velocity, however you came from jazz and brushes. Was it your work with Iggy Pop that gave you the opportunity/realization that you could play more loudly, was it your exposure to Meshuggah, was it a suggestion from a bandmate, or all/none of the above?

I think it began in my early days - way before Iggy Pop - and playing gigs with no monitoring and guitarists and bass players having loud amps on stage. I just couldn't really hear myself clearly so I started to play louder and louder. For sure when I started with Iggy Pop I needed to really ramp up the volume/aggression. You can't play that kind of gig with a pair of 7a's - so I started using bigger sticks. I didn't hear Meshuggah until about 15 years after my time playing with Iggy Pop.

Second, being among musicians at a young age and in a musical household, what were early experiences like with others who had poor sense of time? Did you feel compelled to help them, did it just get on your nerves, was it no concern to you?

I think there were times of confusion where I could hear things were not right - but I often wondered if it was me or the others. Making sessions in the 80's (where everything was on tape) it was hard to really identify what was really 'in time' 'ahead of the time' or 'behind the time' - but I could tell when everything felt good. Sometimes when other players sounded 'out of time' to me - I just turned them way down in my monitoring so they didn't put me off. I guess some folks are more sensitive to timing than others. I have come across musicians who have a similar sensitivity to tuning.

cheers
Gavin
 
Last edited:
Hope you’re well Gavin! Aside from the discontinued EFX #1 splashes and your bells made of broken crash cymbals, did you ever use any regular splash cymbals with Porcupine Tree and if so which ones?

- Salvador
 
Hi Salvador

Aside from the discontinued EFX #1 splashes and your bells made of broken crash cymbals, did you ever use any regular splash cymbals with Porcupine Tree and if so which ones?

In the early days of my time with Porcupine Tree I did use a Zildjian A 6" splash. In fact it's the very cymbal I play on the album version of The Sound Of Muzak. I think shortly after that period I gave up with splash cymbals.

cheers
Gavin
 
Hey Gavin,

Not a question but super excited for the Pineapple Thief concert starting tomorrow, looks incredible and can't wait to watch it!

(Also Rhythmic Illusions is keeping my head super busy - thanks for that 😂🤪)

Best,
Alannah
 
Hey Gavin,

I know you auctioned off your Sonor Designer drum kit, but I am wondering what you did with your Sonor Delite, and your SQ2 in gold hardware. Also, what are you going to do with your blue tribal drum kits now that you have your new yellow tribal drum kit? Lastly, why did you switch from Axis Longboards to Speed Cobras, and why did you stop using the Cobra Clutch, one more thing, have you ever thought of adding another pedal to your setup (eg cowbell).

Thanks,
Liam

PS. are you and Zildjian going to make custom "Gavin Bells" and the rock bells you have over your kick drum?
 
Last edited:
Hi Liam

I know you auctioned off your Sonor Designer drum kit, but I am wondering what you did with your Sonor Delite, and your SQ2 in gold hardware.

The Delite and the SQ2 (with the gold hardware) were sets that I had in the USA. I swapped them for a Blue Tribal SQ that is a clone of the one I have in the UK.

Also, what are you going to do with your blue tribal drum kits now that you have your new yellow tribal drum kit?

Use them on various tours. The fact is - I need a set in the US and I need a set that I keep in flight cases in transit around Europe or another part of the world - added to that I need a set at home in my studio.

Lastly, why did you switch from Axis Longboards to Speed Cobras, and why did you stop using the Cobra Clutch,

I just found the SpeedCobra to be more compatible with my (very temperamental) feet. I still have the Cobra Clutch but I'm not playing the music that requires it at the moment. When there was quite a bit of double pedal things to play (such as in Porcupine Tree) I found it very useful.

one more thing, have you ever thought of adding another pedal to your setup (eg cowbell).

no I haven't.

cheers
Gavin
 
Thoroughly enjoyed the Nothing But the Truth show - great all around production! During the show I noticed a tablet next to your hi hat. Can you elaborate on its use during the show? General monitoring of the kit? The band (IEM)? Recording? Software utilized? Much appreciated - thanks.
 
Back
Top