Mr. Brownstone
Senior Member
Haha! This should be added to your sig right underneath the SEARCH THIS THREAD link. Good stuff!
dwsabianguy
Senior Member
Ah okay, thanks. But I dunno, mine doesn't even want to get in tune with itself...
Live Sound
Hi Gavin
It is well known that each drummer develops his own sound on the drums through years and practice, I'd like to keep my own sound when playing live so my question is... how do you manage to keep your own one when you have to play live? do you trust on your sound engineer or do you ask him/her to keep your own sound strictly? Thanks for your answer, I really appreciate you answering those questions filled with experience, bye, Alberto.
Hi Gavin
It is well known that each drummer develops his own sound on the drums through years and practice, I'd like to keep my own sound when playing live so my question is... how do you manage to keep your own one when you have to play live? do you trust on your sound engineer or do you ask him/her to keep your own sound strictly? Thanks for your answer, I really appreciate you answering those questions filled with experience, bye, Alberto.
Gavin Harrison
DRUMMERWORLD PRO DRUMMER
Hi xopethx
When you're in a live situation with Porcupine Tree, does your sound engineer place ambient mics anywhere in the venue? I'd imagine you get a much more "live" sound by mixing a bit of that sound in along with your personal drum mix, not to mention the audience sounds. What kind of mics would you use in a situation like that?
We don't use ambient mics in a live situation except when we record the show for CD or DVD.
*EDIT* - also, i'm going through your two DVDs again, and i LOVE the play-along tracks that are included with Rhythmic Horizons (the 4/4,5/8,7/8, etc), would there be any chance that you still have the music that you used in Rhythmic Visions?
I do have the music somewhere on a hard drive - but the music I created for the exercises is really nothing special - it was just something I knocked up very quickly. I'm sure you could do the same thing with and keyboard and a sequencer. I have no plan to release that stuff.
Hi atman
how do you manage to keep your own one when you have to play live? do you trust on your sound engineer or do you ask him/her to keep your own sound strictly?
You have to trust the sound engineer you're working with. They can make or break your sound. I work closely with Ian Bond (PT's sound engineer) to try to get the best sound on the drums we can make - considering the room and the PA. We try a lot of experiments with tuning, dampening, mic choices and positioning. It's a constantly moving thing.
cheers
Gavin
When you're in a live situation with Porcupine Tree, does your sound engineer place ambient mics anywhere in the venue? I'd imagine you get a much more "live" sound by mixing a bit of that sound in along with your personal drum mix, not to mention the audience sounds. What kind of mics would you use in a situation like that?
We don't use ambient mics in a live situation except when we record the show for CD or DVD.
*EDIT* - also, i'm going through your two DVDs again, and i LOVE the play-along tracks that are included with Rhythmic Horizons (the 4/4,5/8,7/8, etc), would there be any chance that you still have the music that you used in Rhythmic Visions?
I do have the music somewhere on a hard drive - but the music I created for the exercises is really nothing special - it was just something I knocked up very quickly. I'm sure you could do the same thing with and keyboard and a sequencer. I have no plan to release that stuff.
Hi atman
how do you manage to keep your own one when you have to play live? do you trust on your sound engineer or do you ask him/her to keep your own sound strictly?
You have to trust the sound engineer you're working with. They can make or break your sound. I work closely with Ian Bond (PT's sound engineer) to try to get the best sound on the drums we can make - considering the room and the PA. We try a lot of experiments with tuning, dampening, mic choices and positioning. It's a constantly moving thing.
cheers
Gavin
Hi Gavin
I've a Akg D112 and E.V ND 868 for my kick drum
Now i want use a condenser and dinamic microphones in my kick but sometime two microphones generate a problem of phase. I looking in internet and find this AUDIO TECHNICA AE 2500
http://www.soundonsound.com/sos/dec03/articles/atae2500.htm
what do you think about of this ?
thank you very much
angelo
I've a Akg D112 and E.V ND 868 for my kick drum
Now i want use a condenser and dinamic microphones in my kick but sometime two microphones generate a problem of phase. I looking in internet and find this AUDIO TECHNICA AE 2500
http://www.soundonsound.com/sos/dec03/articles/atae2500.htm
what do you think about of this ?
thank you very much
angelo
Hi dwsabianguy
I worked in "Drumsound" and costruction many snare drum.
If you take five identical drum shell this have a different pitch. i.e. take two different shell keller 13x5 10ply one is a D# and other is a F.
this is a "DW Timbre Matching concept": Process by "tapping" individual shell measured this with digital tuner foundamental pitch. This tone is the natural acoustic center of each drum's timbral persolality and the point where the shell resonated most freely.
Wood is a live fiber many foctor incided of a drum shell sound.
Type of wood, glue, bearing edge, snare venting, finishing and then other factors. Even the paint more change the sound of a snare.
you can take your snare and make a different experience change many different head and many customized your snare
excuse fom my english.
Angelo
Liquid_Drummer
Member
Gavin,
Hope things are going well in the Crim rehearsals. See you guys on Saturday !! I feel very lucky to get to see you and Crim in such an intimate setting..... Hope the show goes well...
Hope things are going well in the Crim rehearsals. See you guys on Saturday !! I feel very lucky to get to see you and Crim in such an intimate setting..... Hope the show goes well...
dwsabianguy
Senior Member
Yeah, I get that I won't be able to get exactly the same sound. It's just that when I put the head on my snare, it sounded SO way off that I thought I'd done something wrong, or that there must have been some extra muffling. I mean, as far as I know, the drums are at least similar (birch shell, same size, flanged hoops - I know the RCs come with flanged hoops standard, I don't know about Gavin Harrison's RC) so I wouldn't think the sound would be as far off as it was. And I don't have a million-dollar studio (probably more like 4500 US), so there's no way I'd be able to get exactly the same sound anyway.
But I mean, the sound was plain terrible. Maybe it wasn't tuned evenly (my drum area can be terrible for tap-tuning), but I got a gross, bright sustain that I didn't think would be there. Makes me think that there was a muffling ring involved. But for me, a half slice of Moongel works well enough for my preferences. I've actually gotten a closer sound with a completely different drum...
But I mean, the sound was plain terrible. Maybe it wasn't tuned evenly (my drum area can be terrible for tap-tuning), but I got a gross, bright sustain that I didn't think would be there. Makes me think that there was a muffling ring involved. But for me, a half slice of Moongel works well enough for my preferences. I've actually gotten a closer sound with a completely different drum...
supermac
Senior Member
Hi Gavin,
It's great to see you on the 2008 MD festival bill.
As I live in Newcastle UK, I'll have to wait until the DVD comes out to watch your performance!
One of my favourite drummers since when I was a kid, Simon Phillips, is also on the bill.
His early 1990s drum videos have just come out on DVD and (apart from Simon's latex Tama shorts) the playing is still fantastic.
I wondered if, as a fellow Brit, you knew Simon and what your opinion is of his playing.
It's great to see you on the 2008 MD festival bill.
As I live in Newcastle UK, I'll have to wait until the DVD comes out to watch your performance!
One of my favourite drummers since when I was a kid, Simon Phillips, is also on the bill.
His early 1990s drum videos have just come out on DVD and (apart from Simon's latex Tama shorts) the playing is still fantastic.
I wondered if, as a fellow Brit, you knew Simon and what your opinion is of his playing.
Hey Gavin,
I'm learning the drum "solo" bit in Way Out of Here. There's a spot where you play a quick 5/16 pattern four times (at 5:25 in the studio version). Is the correct notation of the pattern as follows:
one 16th triplet on hihat followed by two 16th triplets on bassdrum
one dotted 32th on hihat followed by three dotted 32ths on bassdrum
?
I'm learning the drum "solo" bit in Way Out of Here. There's a spot where you play a quick 5/16 pattern four times (at 5:25 in the studio version). Is the correct notation of the pattern as follows:
one 16th triplet on hihat followed by two 16th triplets on bassdrum
one dotted 32th on hihat followed by three dotted 32ths on bassdrum
?
Gavin Harrison
DRUMMERWORLD PRO DRUMMER
Hi angelo
I've a Akg D112 and E.V ND 868 for my kick drum. Now i want use a condenser and dinamic microphones in my kick but sometime two microphones generate a problem of phase. I looking in internet and find this AUDIO TECHNICA AE 2500
I'm sorry but I have no experience of that Audio Technica mic.
Hi dwsabianguy,
Maybe it wasn't tuned evenly (my drum area can be terrible for tap-tuning), but I got a gross, bright sustain that I didn't think would be there. Makes me think that there was a muffling ring involved.
There was a muffling ring involved - I nearly always use one on my 14" snare drums. Maybe you were unlucky and got a bad skin?
Hi supermac
One of my favourite drummers since when I was a kid, Simon Phillips, is also on the bill.
I wondered if, as a fellow Brit, you knew Simon and what your opinion is of his playing.
I love Simon's playing - and I'm looking forward to seeing him play the festival. My father used to sometimes play in Simon's father's band - many years ago when Simon was about 13/14. Sometimes I would go along and watch. We lived quite near to his family back then, and his folks would come round to visit occasionally. I remember Simon coming over and I showed him my little shed at the end of the garden where I used to practise.
I really loved his drumming on Jeff Beck's "There and Back" album and Toyah's live album of 1982.
Hi kheddar
I'm learning the drum "solo" bit in Way Out of Here. There's a spot where you play a quick 5/16 pattern four times (at 5:25 in the studio version). Is the correct notation of the pattern as follows:
one 16th triplet on hihat followed by two 16th triplets on bassdrum
one dotted 32th on hihat followed by three dotted 32ths on bassdrum
I can't think of it at the moment - but I would imagine that the groups of fives would be like this
16th note Snare drum
two 32nds bass drum
16th note Snare drum
two 32nds bass drum
one 16th bass drum
actually Terry Branam made a great transcription of the whole solo (and a lot of other "Fear Of A Blank Planet" stuff) in Modern Drummer a couple of moths ago. You should try and have a look at it.
cheers
Gavin
I've a Akg D112 and E.V ND 868 for my kick drum. Now i want use a condenser and dinamic microphones in my kick but sometime two microphones generate a problem of phase. I looking in internet and find this AUDIO TECHNICA AE 2500
I'm sorry but I have no experience of that Audio Technica mic.
Hi dwsabianguy,
Maybe it wasn't tuned evenly (my drum area can be terrible for tap-tuning), but I got a gross, bright sustain that I didn't think would be there. Makes me think that there was a muffling ring involved.
There was a muffling ring involved - I nearly always use one on my 14" snare drums. Maybe you were unlucky and got a bad skin?
Hi supermac
One of my favourite drummers since when I was a kid, Simon Phillips, is also on the bill.
I wondered if, as a fellow Brit, you knew Simon and what your opinion is of his playing.
I love Simon's playing - and I'm looking forward to seeing him play the festival. My father used to sometimes play in Simon's father's band - many years ago when Simon was about 13/14. Sometimes I would go along and watch. We lived quite near to his family back then, and his folks would come round to visit occasionally. I remember Simon coming over and I showed him my little shed at the end of the garden where I used to practise.
I really loved his drumming on Jeff Beck's "There and Back" album and Toyah's live album of 1982.
Hi kheddar
I'm learning the drum "solo" bit in Way Out of Here. There's a spot where you play a quick 5/16 pattern four times (at 5:25 in the studio version). Is the correct notation of the pattern as follows:
one 16th triplet on hihat followed by two 16th triplets on bassdrum
one dotted 32th on hihat followed by three dotted 32ths on bassdrum
I can't think of it at the moment - but I would imagine that the groups of fives would be like this
16th note Snare drum
two 32nds bass drum
16th note Snare drum
two 32nds bass drum
one 16th bass drum
actually Terry Branam made a great transcription of the whole solo (and a lot of other "Fear Of A Blank Planet" stuff) in Modern Drummer a couple of moths ago. You should try and have a look at it.
cheers
Gavin
dwsabianguy
Senior Member
I guess the biggest reason why my drum sounded so terribly different was because I don't normally use muffling (the Aquarians normally do it themselves), but the Moongel pretty much did the trick. But as I've also mentioned earlier, I got a completely different drum to sound even closer. Go figure.
But one last thing - do you normally hit in the center of the snare, or slightly off? I've found that even with the Moongel that I get a remnant of the grossness if I hit in the center...
Thanks again.
But one last thing - do you normally hit in the center of the snare, or slightly off? I've found that even with the Moongel that I get a remnant of the grossness if I hit in the center...
Thanks again.
xamanex
Junior Member
hey Gavin you are my influence for play drums , you are the best man , your groove its amazing , I see the video of porcupine tree- arriving somewhere in chicago , really really nice
I am From Argentina . sorry for my english .......................but I speak spanish ....
I am From Argentina . sorry for my english .......................but I speak spanish ....
Gus
Member
Hey Gavin,
I have already read the first pages of this thread, but its still a long way to get it all through. So i hope this questions haven't been asked already before.
1. Which location had the best sound to your mind?Do you ever "hear" the sound the audience has, or do you just can judge how good the sound is/was,because of the sound you hear on your drum seat on the stage?Did you ever had a gig,where the sound was horrible and you just could imagine,where the band is in the song.i had such situations sometimes, but i'm sure there is a big gap between your profesionality and mine, hihi.
2.I talked with many of my friends about your style of drumming, and everyone of my friends agreed with me, that the most special thing about your drumming is, that every single hit, doesn't matter on which thing you hammer on with your stick or foot
(tom,ride, snare,hihat,bass, .....).ähm, what i wanted to say, every single hit fits perfect into the song, or this short period of time.When you drum it never is a demonstration of technique or speed,its just the best thing you can get out of this song or this short period of time.(I hope you know what i mean)And now the questions iso you know what your playing from the first time you try it?I would imagine your position is horrible difficult, because you have so many options,for fills just small differences. In an interview from backstage musicians you said, that you like to improvise every show, and that means that new ideas come to your mind, how to play a song or a specific fill. So is it hard for you to choose for a specific break of one song, a specific fill for the record of the album for example, because you have so many you can choose, and i'm sure every of these fills are great. Or maybe the differences between different fills are so small, but maybe so important.
I'm very interested, if such things make genious musicians sleepless. Thanks Gavin for beeing here on our Planet
best wishes from Vienna ( great show last time)
Alex
Ps: I will never forget, when you shouted to Steve: Shut up, when he asked you for a drum solo, because he had problems with his effects ;-) .
I have already read the first pages of this thread, but its still a long way to get it all through. So i hope this questions haven't been asked already before.
1. Which location had the best sound to your mind?Do you ever "hear" the sound the audience has, or do you just can judge how good the sound is/was,because of the sound you hear on your drum seat on the stage?Did you ever had a gig,where the sound was horrible and you just could imagine,where the band is in the song.i had such situations sometimes, but i'm sure there is a big gap between your profesionality and mine, hihi.
2.I talked with many of my friends about your style of drumming, and everyone of my friends agreed with me, that the most special thing about your drumming is, that every single hit, doesn't matter on which thing you hammer on with your stick or foot
(tom,ride, snare,hihat,bass, .....).ähm, what i wanted to say, every single hit fits perfect into the song, or this short period of time.When you drum it never is a demonstration of technique or speed,its just the best thing you can get out of this song or this short period of time.(I hope you know what i mean)And now the questions iso you know what your playing from the first time you try it?I would imagine your position is horrible difficult, because you have so many options,for fills just small differences. In an interview from backstage musicians you said, that you like to improvise every show, and that means that new ideas come to your mind, how to play a song or a specific fill. So is it hard for you to choose for a specific break of one song, a specific fill for the record of the album for example, because you have so many you can choose, and i'm sure every of these fills are great. Or maybe the differences between different fills are so small, but maybe so important. I'm very interested, if such things make genious musicians sleepless. Thanks Gavin for beeing here on our Planet
best wishes from Vienna ( great show last time)
Alex
Ps: I will never forget, when you shouted to Steve: Shut up, when he asked you for a drum solo, because he had problems with his effects ;-) .
Last edited:
Gavin Harrison
DRUMMERWORLD PRO DRUMMER
Hi dwsabianguy
do you normally hit in the center of the snare, or slightly off?
I hit the centre of the drum and usually with a rim shot.
Hi Gus
Sorry but i´m not sure to understand what a 6/8 implied is (problems with my musical english). What i understand about implied time is, for example, a 4/4 bar, and start playing quarter notes triplets (three notes every two times) in bass and snare, so there´s an illusion to be in other place, while keeping the 4/4. Is this your idea?
No not in this case. With a bar of 3/4 there's a few different ways you can subdivide it. As I said - in the first verse I play 7/16 and 5/16 and that makes the 3/4 feel a certain way. If I play a bass drum on one and a snare exactly in the middle of the bar (the & of 2) it can seem that the feel has become triplets. That's what I meant by implying a 6/8 feel.
Hi Bassnoob
1. Which location had the best sound to your mind?Do you ever "hear" the sound the audience has, or do you just can judge how good the sound is/was,because of the sound you hear on your drum seat on the stage?
Usually really well designed studios sound the best to me. I'm never hearing the same thing that the audience is hearing in a gig situation. I don't have the PA speakers facing me.
Did you ever had a gig,where the sound was horrible and you just could imagine,where the band is in the song.
I have played in some really terrible sounding places - and I just have to hope it sounded better to the audience than it did to me.
Do you know what your playing from the first time you try it?I would imagine your position is horrible difficult, because you have so many options,for fills just small differences. In an interview from backstage musicians you said, that you like to improvise every show, and that means that new ideas come to your mind, how to play a song or a specific fill. So is it hard for you to choose for a specific break of one song, a specific fill for the record of the album for example, because you have so many you can choose, and i'm sure every of these fills are great. Or maybe the differences between different fills are so small, but maybe so important.
I try not to think of my fills as a menu that I could choose from. Sure I have some old favourites - but I try to use them as little as possible. If I can - I want to be inspired to just create something new on the spot.
I will never forget, when you shouted to Steve: Shut up, when he asked you for a drum solo, because he had problems with his effects ;-) .
Actually I think I shouted F**K OFF.
Cheers
Gavin
do you normally hit in the center of the snare, or slightly off?
I hit the centre of the drum and usually with a rim shot.
Hi Gus
Sorry but i´m not sure to understand what a 6/8 implied is (problems with my musical english). What i understand about implied time is, for example, a 4/4 bar, and start playing quarter notes triplets (three notes every two times) in bass and snare, so there´s an illusion to be in other place, while keeping the 4/4. Is this your idea?
No not in this case. With a bar of 3/4 there's a few different ways you can subdivide it. As I said - in the first verse I play 7/16 and 5/16 and that makes the 3/4 feel a certain way. If I play a bass drum on one and a snare exactly in the middle of the bar (the & of 2) it can seem that the feel has become triplets. That's what I meant by implying a 6/8 feel.
Hi Bassnoob
1. Which location had the best sound to your mind?Do you ever "hear" the sound the audience has, or do you just can judge how good the sound is/was,because of the sound you hear on your drum seat on the stage?
Usually really well designed studios sound the best to me. I'm never hearing the same thing that the audience is hearing in a gig situation. I don't have the PA speakers facing me.
Did you ever had a gig,where the sound was horrible and you just could imagine,where the band is in the song.
I have played in some really terrible sounding places - and I just have to hope it sounded better to the audience than it did to me.
Do you know what your playing from the first time you try it?I would imagine your position is horrible difficult, because you have so many options,for fills just small differences. In an interview from backstage musicians you said, that you like to improvise every show, and that means that new ideas come to your mind, how to play a song or a specific fill. So is it hard for you to choose for a specific break of one song, a specific fill for the record of the album for example, because you have so many you can choose, and i'm sure every of these fills are great. Or maybe the differences between different fills are so small, but maybe so important.
I try not to think of my fills as a menu that I could choose from. Sure I have some old favourites - but I try to use them as little as possible. If I can - I want to be inspired to just create something new on the spot.
I will never forget, when you shouted to Steve: Shut up, when he asked you for a drum solo, because he had problems with his effects ;-) .
Actually I think I shouted F**K OFF.
Cheers
Gavin
Liquid_Drummer
Member
BWhahahaha...
Gavin,
Since the show tonight is in a smaller venue do you think that being up front close to the stage might be detrimental to getting the best sound ? Based on the venue do you have a recommendation for a sweet spot ? I would love to hear your kit raw coming off the stage but at the same time I want to be in the best spot for the stereo image.
Look forward to the show tonight and wish the best to you on your 1st live Crim gig. Cant wait to hear your style and groove in Crims music...
Do you every get a chance (or do you even care) to sample local foods when you are on tour ? You should try an "Elvis sandwich" before you leave Nashville. Tennessee is about the only place you can get the legendary "Elvis Sandwich". Its a fried penut butter Sandwich with banana on it and its very yummy however only one sandwich per lifetime is recommended due to the fact that it is so very bad for you..
I wouldnt eat one the same day of a show..
Liquid_Drummer
Member
Saw Gavin with Crim.... 5th row center... Just want I wanted... Perfect
He fit in perfectly. Him and Pat had some insane stuff going on. Had my blood pumping hard..
Well done Gavin.. That was truly a great show and it looked like you and Pat were having a lot of fun.. You add a lot to the Crim with your approach..
IF anyone lives near where they are playing their next date GO SEE THEM.
What was that device you were turning knobs on to your left off and on all night ?
He fit in perfectly. Him and Pat had some insane stuff going on. Had my blood pumping hard..
Well done Gavin.. That was truly a great show and it looked like you and Pat were having a lot of fun.. You add a lot to the Crim with your approach..
IF anyone lives near where they are playing their next date GO SEE THEM.
What was that device you were turning knobs on to your left off and on all night ?