It is, and I agree with this. But rudiments and scales arent the same. I differentiate the two because there are folks who think the rudiment tells you what to play, like gotta play a paradiddle here, a 5 stroke roll there. This is simply not the case. However, knowing what notes sound good together and what dont does kind of tell you what to play. It's not hard and fast, but some notes simply dont sound good together. This is why I dont like to compare the two.
Hmmm, I don’t know...I agree that rudiments don’t (well, except initially when learning) tell you what to play so maybe it’s just an opinion difference I guess, but I’d still disagree to an extent. They’re obviously not the same thing (I’m not suggesting they are) but I think when you get to a certain level regardless of instrument, neither scales or rudiments tell you what to play, as you said above. It just gives you choice regarding a sound colour palette you want and that’s only limited by the players skill. That was the context in which I used the comparison. A young drummer is probably just as constrained by rudiments as a young pianist is by scales...the better you get the more freedom they give you.
Each scale has its own distinct sound and colour and when you have the skill and freedom, you are certainly not constrained by scales or having to play only diatonically. Chord/scale theory, among others, and well practiced passing tones, chromaticism, voice leading etc give you nearly limitless sound options to choose from, just as rudiments give us. A great pianist, sax player, whatever, would never think in terms of scales and being locked in to what to play because of it. Freedom all comes down to the skill of the player and the extent of their learning, for both scales and rudiments.
They essentially become colour choices. A guide certainly, especially if it is a simple diatonic tune, but we drummers also have those same limitations and certain colours, sounds, feels etc will sound great and be suitable to the song and others will just sound awful. That’s why a backbeat will nearly always be awesome in a big pop/rock tune...just like a pentatonic scale (and it’s derivatives, blues scale, minor, modes etc etc) will nearly always suit a blues, folk or rock tune, yet the improvisational possibilities that go with it are absolutely endless and only limited by the players skill.
Anyway, interesting, but I think this is probably derailing this thread a bit sorry Joffry. My take is learn as much as you can from everyone and learn/copy/use everything you dig.