On drums...

I'm not sure, but that transition doesn't seem to me to take a lot of work. It is easy enough for me to say, not knowing what you're trying to do, but the heel down method seems much more relaxed.

The great thing about not learning something when you're young is there remains so much to learn when you get older.

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Gregory

I'm working on playing lighter. But in the past, as soon as a band shows up that whole effort goes out the window.
Unless of course a different kind of band is down the road for me. Can't imagine what that would like like though. I'm not into Jazz.

I'm sure I hated those Emad heads a while back, but it won't be leaving this kick any time soon. I tried the Gmad on it and that didn't stay long. Put the Emad right back.

Can relate to the problem.

The thing about volume is that we all got it wrong. Not everyone, I should correct myself: those of us who came up on rock got it wrong. Volume may do a lot for one's sense of having made a big noise but leaves the sonic character of the instrument out. The more quietly you can play that kick, e.g., the larger its voice and the more it supports the other instruments, and it will adopt the key and the notes being played.

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Gregory

That's a tough one to deal with, Kelly, since you are surrounded by other players that (i) don't have the same volume/tone relationship as we do with acoustic drums, and, (ii) for them, playing louder is just a twist of the dial rather than the physical effort it is for us.

It took me a long time to break the habit of cranking up the volume as soon as I sat down with a rock band, but I think that the more that you come to appreciate the sounds you are getting from your drums, the sooner you will recognize it when you are starting to 'crank it up', and lose that.

I know that you are not into jazz, and may never be, but even rock n' roll played at volumes that allows texture and dynamics feels better to me now than blowing the walls out.

p.s. I'll bring you some brushes for Thanksgiving. Google 'em.

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Cliff

River City Trio

What if we did all have the same opinions?

Quiet is physical, though not exaggerated, effort. Loud is the default.



Finally. Dawn can baste the bird.

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Gregory

Well, it seems the more you play on the light side, the more you start dialing your drums to accomodate that. So soon you won't be able to hit them too hard because they won't sound good to you.
I think we are on the same page in our definition of lighter, I want my wrist/hands to do more. I suppose also the more you do this the louder you will get at it.
I also think the more you get mic'd the better the style becomes for you.

I think this is the "Geritol" thread. A younger guy would read this and want to put us in our coffins. That is, those of us that are choosing to go out that route. I might not, after Gregs debacle.

This also brings about clarity on my feelings for Signature drums. They are so completely on the other end of this spectrum.

That's the whole point. Are we musician, or are we engaged in some sort of tribal fertility rite meant to call in the females, like a moose call?


There's the happy boy now!

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Gregory

Hey Kelly,

Other than being able to use single ply heads all the time, I don't think tuning practices changed much when I started to lighten up on attack. For me it was more a matter of just being able to hear and enjoy the nuances that I was already past the dynamic range of when I was playing at higher volume.

Agree. Definitely using wrists and fingers more than arms (except to transport wrists and fingers) I think it is true that the more you develop wrist and finger technique, the more you could possibly bring up the volume, but that goes against what I was trying to do by making that transition.

No doubt. I simply consider that the realistic dynamic range of my kit begins and ends at a lower volume level than it used to, and if output above that is required, then sound reinforcement is required. A singer wouldn't be expected to scream out a ballad because more volume was required, and I hold the same line in regards to volume expectations from my kit.


Perhaps, so, but no more so than I might like to do the same with some players that are making noise with, rather than pulling sound out of their kits.

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Cliff

River City Trio

What if we did all have the same opinions?

Nah. It's because they don't sound good when you hit them too hard, not the other way around.

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Gregory

Hmmm not sure.
I always tuned drums and set them up that way (heads, sizes) to accomodate for very hard hitting.
There is no way in heck you were going to get anything even remotely decent hitting them lightly.
And if you are trying to say hard hitting doesn't sound good, can't sign up for that either.

I'm already using coated heads. Which to me never sounded good with a harder strike. They always meant "quicker" to me.
Point being, on this kit I'm making changes.
I'm just trying to make one kit play differently than what I am used to. I see some interesting stuff out there I would like to mess with, Keith Carlock style. I'm trying my hardest to like that JoJo.....I'm sure I have to see more.

It's fun to explore different avenues. As long as I feel like it's a forward direction; playing better, sounding better. Hell...maybe just getting excercise lol...comes right down to it, I'll probably be playing just like Kelly when the next band comes in. And I'll be just fine with that.

And no....there are plenty of young drummers out there doing some fantastic stuff and sounding fantastic doing it and really don't have anything else behind it but the love for it. Sure it's safe to call them muscians.