My DW Pedal Broke, Part 2: The Broken Piece

For Part 1 of this blog, click here - My DW Pedal Broke (27 Nov 2010).

*****

Almost three weeks after the chain piece of the primary pedal of my DW 5002AH double bass pedal snapped, I finally found some spare time yesterday afternoon to tinker with the pedal, remove the broken part, and inspect it.  I took a couple of photos of the damaged metal piece of the DW double chain, which is the strip that connects the chain to the footboard (using a nut and screw).

Detaching the broken chain from the footboard was tough because it was screwed way too tight.  I was almost at the point of ruining the Phillips head of the screw.  Why are DW's pedal parts screwed on very very tight?  Good thing I found an old pair of pliers with a very strong grip, to hold the nut underneath.

Like I mentioned on the first blog, I'm not heavy-footed, I've never broken a high-end bass pedal before this incident due to malpractice or carelessness, and it's unlikely that the double pedal's previous owner/s tampered, modified, or maltreated it.  I guess it's simply a matter of good old mechanical wear & tear, and perhaps some bad luck.

Yet I still feel that a product that's supposed to be well-thought out, mechanically sound, and of high quality shouldn't give in just like that.  I have drummer buddies who've owned and played DW pedals for years and even decades, but how come their DWs never broke down like that?

Now that I've seen the actual damage, I placed an order for a new DW double chain (courtesy of Vinci Rodriguez of The Drum Shop Manila).  Now all I need to do is wait.

dwsm1204 - 3000/5000/7000 Double Chain with Link. Fits 3000, 5000 and 7000 series pedals.  Photo from the DW website.

My DW Pedal Broke

This just happened last night.

My broken DW 5000 pedal.

A view of that broken metal piece...

My DW 5002AH Delta 2 double bass pedal is an old model (circa 2002, i suppose), and I bought it second-hand from a good friend just a couple of months ago.  Prior to purchase, I made a pretty good inspection of this double bass pedal.  Though it's an older model and it needed some cleaning, I didn't locate any issues or potential problems.  It was still mechanically sound, and most important, its action and response still feels great.  It's a nice set of pedals, and I enjoyed using it in the last ten weeks or so.  Until...

During our gig, somewhere in the middle of a song, something went wrong with the primary (right/main) pedal.  The chain just separated with the footboard, which forced me to use the slave (left/auxiliary) pedal for the remainder of the song.  Good thing we were playing a slow jam R&B tune when it happened.  If it was an upbeat tune with plenty of bass drum doubles or syncopations, it could have been my doom.

... that connects the chain to the footboard.

After that song, I quickly unhooked the primary pedal from the bass drum hoop to check out what happened.  It turned out, this small piece of metal that connects the chain to the footboard just snapped.

It's no quick fix.  The chains seem to be riveted on to the sprocket.  The broken little piece of metal looks like it either needs to be replaced, modified, welded, or super-glued with an extra-strong steel epoxy.  And so, I set aside the broken DW and went for the house kit's sloppy yet still functional Gibraltar bass pedal.

I don't know if this is an isolated case.  I don't know if this is a common problem experienced by other DW pedal players.  I don't know if it's just plain bad luck and I don't think the previous owner/s already tampered or modified this pedal.  But one thing I'm certain of is this is another one of many DW pedal durability and reliability issues, and it's sad to say that I got turned off with it.  I don't think I'll ever buy another DW pedal.

This is where the chain meets the footboard. Broken.

Prior to this incident, I've never broken a high-end pedal.  It's the first time in my whole drumming life that something like this happened to me.  And I'm not the heavy-footed type, which is why it's quite a surprise for me.  I guess it's either I have this fixed in a machine shop or order genuine replacement parts, whichever's more convenient or more reasonable.  Then perhaps I'll sell it and upgrade to a better one.  I think I'll go back to those Japanese pedals, which are more durable and more reliable.  Or better yet, if my budget persists, I'll invest on one of those high-tech direct-drive pedals.

It sucks that I'm pedal-less again, for now.  Once again I have to rely on what's provided on the gig venues, or if there's a good soul out there who's willing to lend me a pedal while I don't have a new one.  But what's more frustrating is it's also a matter of wrong timing.  Just when I'm totally inspired to practice more nowadays & I'm in the midst of preparing for the last couple of days of my drum workshop with Mike Alba, the DW pedal gave in, and I don't have a spare pedal at home.  I'll never own a DW pedal again.

This should be my first and last DW pedal. Disappointment.

Gearhead Thoughts: Some New Gear

I've been busy these days, which is why I need to catch up with my blogging.  In addition to my usual gigs with K24/7, I am currently having a few activities outside my band, such as session work (thanks to my friends from Hit Productions) & drum lessons under the mentorship of great Filipino drummer Mike Alba (which I plan to blog about next time).  Being busy is a good thing for me, and I feel blessed because of these opportunities coming in.  It also enabled me to purchase some new gear, which is not only a case of GAS (gear acquisition syndrome), but also a necessity.  Most of the new stuff I got are for the sake of replacing some of my old gear which recently broke down or needed to be updated.

Here are some of the new gear which I recently acquired.

I got this Zildjian 17" A Custom Rezo Crash cymbal from JB Music (Zildjian's local distributor) through their trade-in program.  I traded my broken 17" K Custom Dark Crash for this new baby, which is among the latest line of cymbals from Zildjian.  I love dark and contemporary-sounding cymbals, which explains my preference for K Custom cymbals all these years.  I love how it blends in with my band's style of music & how elegant it sounds especially during recording situations.  The rides and hats are beautiful stuff worth keeping.  However, when it comes to crashes, I was beginning to look for something else.  I've had Custom Darks and Hybrids.  Though they all sound awesome, they are fragile, thin-profiled models & I don't get enough sound from them on some live situations, particularly with bigger venues.

When Zildjian introduced the new A Custom Rezos early last year, I thought these may be the solution to my search for a fresh new sound.  Am I glad to have a Rezo Crash now, because I'm loving it!  Prior to purchase, I made my research regarding the Rezo Crashes.  Some said that if you like the K Custom Hybrids (which I do), you'll like the A Custom Rezos as well.  The product review on the March 2009 issue of Modern Drummer, which described the Rezos as "having a great balance of volume, reaction, and quality of sound", was helpful too.  The MD review was spot on!  I love how the Rezo Crash explodes with just the right amount of tone and volume, with just enough sustain, and just enough cut without piercing our eardrums.  My bandmates love it too, and complimented a number of times regarding how nice it sounds.  This is among the sweetest-sounding crash cymbals I've ever used.  It's also an added bonus that it's also a handsome-looking cymbal, with its different bands of lathes and the combination of brilliant and traditional finishes.  Plus it's got a medium-thin profile, so this would be more durable than my previous K Customs.  I think I'll get a bigger 18" or 19" Rezo for my right side next time.

The Drum Dial is a gift from my US-based genius godfather Chit Ramirez (my uncle who gave me my Magic Drum).  This is a really helpful piece of equipment.  First of all, I can say that I'm pretty much used to tuning drums, based on feel plus all the years of experience.  I thought I'm quite fine with my drum tuning skills, which is why I never really took notice of those drum tuning assistance gadgets coming out on the market in recent years.  Until, my uncle got me this nifty piece of equipment which he and his musician friends from the US claim that it will be very useful for my craft.  One week after using the Drum Dial to tune my drums, I can definitely hear and feel the difference!  I'll be writing my review of the Drum Dial soon.

My trusty five-year old Behringer Eurorack UB802 compact mixer's power supply blew up recently.  Before this happened, I was already having thoughts of retiring this workhorse for home use (I'm planning to set-up a sound system at home for my play-along practice needs).  So I need to have that power supply fixed.  A few days ago, I got a new compact mixer for my stage monitoring requirements.  I got Behringer's Xenyx 502 mixer.  The eight-channel UB802 served me well, even if I'm unable to maximize it because I only use two channels most of the time - one for the live band mix & another for the sequenced tracks, plus an optional third channel for my metronome (when needed).  So the five-channel Xenyx 502, which is almost similar to the old Eurorack UB502 used by former South Border drummer Paul Benitez back in the day, is pretty much just right for my basic stage monitoring set-up.  It's also great that it's smaller (its footprint is just around 5"x7"), it's more lightweight, and it looks sleek with its black/gray finish (compared to the Eurorack's colder and more industrial-looking steel silver finish).

Up to this day, I'm still frustrated over the loss of the left earpiece of my M-Audio IE-20 XB in-ear earphones (which I mentioned in this May 2010 blog).  How I wish that somebody can help me with acquiring, if possible, just the left-side piece of this high-quality listening equipment (hope you're reading this, Drum Shop Manila and/or JB Music).  Anyway, I've been reading and hearing stories about some side-effects of using in-ear earphones, which may damage the ear canal when not used properly.  So I thought of using traditional headphones as an alternative.  My top choice (and only choice) is the already-proven Vic Firth SIH1 Stereo Isolation Headphones,which are specially designed for drummers.  Essentially, these are traditional earmuffs which have built-in speakers, which makes it an excellent play-along tool because it is highly effective for listening to music while blocking outside noise.  Its fit is quite tight and snug, which is a good thing.  That means I can still bob my head during live situations, and I don't need to worry about the headphones slipping off my head.  The stereo sound may not be at par with my M-Audios (which have become my benchmark in sound quality), but the playback quality is decent enough for its purpose.  By the way, thanks to my source, Vinci Rodriguez of Drum Shop Manila.

These new equipment, plus the used DW 5002 double bass pedal I got last month, enable me to complete my essential gear requirements.  After a few months of struggling with sub-par, missing, or worn-out gear, I'm finally able to update and upgrade.  It feels great to be back to normal again.  And with the help of all these nice gear, I don't need to worry that much anymore with my equipment, which would allow me to focus more on the music and my drumming.  I'm blessed that I still have my gigs with my band, I have some opportunities coming in, and I'm able to rise up from the months of gear frustration I had.  I just need to keep working hard and play better, so that more bright opportunities can come in.  I'm grateful.

Gearhead Thoughts: Back to Double Bass, and My Studio H Experience

I have just survived playing without a double bass pedal for almost a year.  October last year, I decided to take a vacation on double bass and return to single bass drumming, as documented in this October 2009 blog.  Now, I am happy to say that I'm back to playing double bass.

I got myself a second-hand DW 5002AH Delta 2 double bass pedal two weeks ago.  I bought it from a friend, and I think I'm the third or fourth owner of this pedal.  It's an old model, but it's still in great mechanical condition.  I just needed to clean it up a bit after I got it.  I made some research on this particular model, and I reckon that this particular DW model was built circa 2002, judging from the footboards with the words "chain drive" casted above the distinct 5000 trademark.  This model must be the first to have DW's Delta ball bearing hinges, with its distinct red finish.  Plus, this model was the first to be featured with optional accessories such as pedal weights and stacking Elevator heels.  The DWs I got have the weights, which are those round things screwed at the top end of the footboards.

Back in the day, when I was still starting out, DW's 5000 line of pedals were the most sought-after drum pedals, and these were the benchmark and cutting edge in terms of design, technology, and playability.  In fact, they were my dream pedals.  Until, the Japanese came out with their Iron Cobras (Tama) and Powershifter Eliminators (Pearl), which offer plenty of high tech features and player customization.  Then, American pedal manufacturers such as Axis and Trick took pedal innovations notches higher.  Nowadays, there are so many great drum pedals to choose from, and I guess we somehow owe it all to DW.  As far as I'm concerned, the DW 5000 pedals are the pioneers of the modern bass drum pedal.

It's cool that I now have a DW 5002 double pedal.  Though second-hand, I can still say that I'm able to get my dream pedal.  Though it doesn't offer as much customization as the Cobras and Elims which I used to have, the DW still has that great feel, which is what matters the most.  I don't know if it comes with maturity, but I'm probably getting less techy when it comes to pedals.  I would still love to have a high-tech set of pedals someday, once it's time for me to upgrade.  But for now, I'm enjoying these good old 5000's, which still feels great even with all its mileage and battle scars.  And now, I have to shed off some of my double bass rust.  Better get my footwork back on track.

***


It's great timing that I got back to double bass.  Recently, I was called to do this recording session.  We recorded an original progressive rock composition, so it was an opportunity for me to go back to my rock roots and play some double bass.

It's a privilege for me to do a recording session at Hit Productions' Studio H last Sunday afternoon.  It was my first time to do a session there, and it was a treat for me.  Hit Productions is among the best audio production houses in the country, and their flagship Studio H reflects their quality, innovation, and their knack for the latest technology.  For me, Studio H is like the 19 East of local recording studios.  The studio is so well-equipped.  The house kit is a Mapex Saturn, which sounded sweet.  They have a stable of over a dozen snare drums of different shells and sizes, some of it are custom-made models from companies which I never get to read about in my drum magazines.  Plus they have a wide selection of cymbals.  I am particularly impressed with the set of Paiste Twenty cymbals, which I was able to try for the first time.  If I were to use Paistes, the Twenty would be my line of cymbals.  However, for the recording, I need brighter, heavier cymbals.  Plus, they have enough drum hardware for drummers who need to improvise with their set-ups.

Studio H also has a baby grand piano, and plenty of high-tech recording tools and gadgets.  The recording facility is also a haven for guitar and bass players, for there's an impressive collection of electric and acoustic guitars & bass guitars lined up along the walls of the mixing room.  It's simply topnotch, and by far it's the most impressive recording studio I've ever visited.

Going back to the recording session, one of the bosses from Hit has this original progressive rock composition.  For me, the song's got an old-school feel in it, with a twist of Frank Zappa & Black Sabbath.  The song is funny.  It is about this fictional superhero, who will be revealed as a homosexual later in the middle of the tune.  There's some straight-ahead parts in 4/4, then the tricky odd-time pre-chorus, which I counted out was in 19/8.  It was a challenging session for me because first, it's been a long time since I last played heavy progressive rock music.  Second, I have to learn the song on the fly (while the people I worked with already knew the song).  And third, I am recording with complete strangers!  It sure took me some time to learn the track on the spot, particularly the transitions and the different grooves.  Yet, at the end of the day, I thought it's a great challenge for me, and I hope that I'm able to satisfy the songwriter & my fellow sessionists.  Though I wish I had more time, I think I could have done a much better job.

For that session, I set up the Mapex house kit with 3 toms (10"-12"-14").  My cymbals were a mix of Zildjians, Sabians & Paistes.  My ride cymbal was a 22" Sabian Neil Peart Paragon Ride, which sounded big yet crisp.  My effects cymbals were a Paiste Twenty splash & China, which sounded well on the mix.  The hats and the crashes were all Zildjian.  I also used my Old Faithful 14" Tama Starclassic Maple snare drum.  No disrespect meant to Studio H's snare drum collection, but I thought of using my own drum so that I can hear how it sounds on recording.  And finally, I hooked in my DW 5000 double bass pedal, which I got to use on a few fills & some straight-ahead passages.

I hope to have another opportunity to work again at Studio H.  I had a blast.

Gear Review: CS Carbosticks Drumsticks

"The CARBOSTICKS from CS is manufactured in a revolutionary new process completely out of carbon fibre material which combines maximum durability with a perfect handling."

--- printed on the Carbosticks package


"Tired of drumsticks that split, crack and splinter?  Carbosticks are the answer!  Carbosticks are made of a unique patented carbon fiber compound with many desired wood characteristics – including feel, sound, weight and balance – but Carbosticks last three to eight times longer!  Not only that, but they are specially manufactured to wick away perspiration, resist abrasion and be unaffected by changes in temperature and humidity.

The company uses a color code system to distinguish between the models’ fulcrum weight (balance point). The red labels are weighted more towards the back of the stick, giving them a lighter feel and response, most appropriate for playing jazz and pop music. Carbosticks classified by white labels are weighted more toward the shoulder and front of the sticks, giving them a heavier response for playing rock music and louder, harder rhythms."

--- description from various online musical instrument retail sites


Carbosticks are German-made drumsticks made out of carbon fiber, an alternative material with qualities of high strength and low weight.  The first time I tried these distinctive black drumsticks was last year, in November 2009, when I bought a 5A pair from Lyric.  Based on the description above, Carbosticks are color-coded based on the stick model's balance point.  I'm not sure with how the labels work (the cardboard's mainly in red, but there's a white sticker at the back which shows the stick model & a UPC), so I can't make any comparison between the red-labeled models and the white-labeled ones.

My first impression is it does have some of the characteristics found on wood sticks - the feel, weight, and balance.  My palms tend to get sweaty at times, but they hold up pretty well.  The bright cymbal sounds produced by the carbon fiber tips, which are more or less similar to the sounds produced by nylon-tipped wood sticks, may be something that other drummers might consider.  Rim clicks or cross-stick sounds are quite decent enough for a non-wood stick, considering my experience with another brand of synthetic drumsticks, where its cross-stick sounds don't have enough wood in it.  After getting used to it, I tend to forget that I'm using a carbon fiber pair. 

I use the Carbosticks as my practice sticks.  This allows me to save my Pro-Mark oaks for actual performances.  Yet from time to time I also use the Carbosticks during gigs, and it holds up pretty well.  It's also a great standby pair, just in case I break and/or run out of wood sticks in the middle of a gig.

Carbosticks are durable, though they are not unbreakable.  I heard or read a few stories about drummers who weren't happy with their Carbosticks because it broke only after a few days.  I have no idea with their technique or how they use their sticks.  But in my case, the Carbosticks 5A I bought have proven their durability.  With regular practice (on my pad or on the drumset) and with some occasional use during gigs, one of my 5A Carbosticks broke just last July.  Then the remaining pair snapped a month later.  That 8-9 month life span is quite impressive for me.

Lyric Music sells Carbosticks at a reasonable price of Php595 per pair.  Based on my experiences, these Carbosticks are great value for money, considering the number of sticks (and Pesos) I got to save by using it during practices & reserving my wood sticks for my gigs.  I just got a new pair of 5B Carbosticks, which are thicker and slightly heavier.  It should be interesting to find out how long these will last.

K24/7 Highlight: Music Update Live TV Guesting

Last night, K24/7 guested on ABS-CBN's Music Uplate Live, a late night music show that features Filipino artists.  It was like a last minute thing for us, as our TV guesting for this show was confirmed just last weekend.

The show last night was hosted by two great Filipino artists - the multi-talented 6cyclemind drummer & Protein Shake frontman Tutti Caringal, and the lovely soul siren Nina.

Tutti mentioned that it was the first time that there was a full band setup in the show, compared to the acoustic setups which were the norm on previous shows.  And because the show isn't accustomed (yet) to full band setups, I needed to bring out my drumkit.  Thinking about some of the potential technical limitations, I decided to go for a minimalist drum set-up - a 20" kick, my Magic Drum 13" Tama Artwood snare, a 14" tom on my right, hi-hats on my left, and a ride cymbal over the kick drum.  Later on I wished I brought the whole rig, after realizing that the sound system had enough drum mics for a full drumkit.  Anyway, it's alright because at times it can be fun playing on a few drums and a couple of cymbals.

My kit was set up right in the middle of the studio set because of its bigger footprint, while all my bandmates were on the platform.  For a change, I was in front of my bandmates.  I prefer being at the back where I can see everyone, but I had no choice last night. 

My bandmates played through direct boxes because there were no amps provided.  E decided to use his acoustic guitar last night, which brought a more relaxed, organic, and unplugged vibe to our music.  A Korg keyboard was provided for Ian.

For me, this was one of the most fun TV guestings we ever had so far.  We were all having fun, playing music, jamming and chatting with fellow artists Tutti & Nina.  We didn't notice that the show already went overtime, and how we wished that time didn't fly too fast.  We hope that we can be guests again next time.

Thanks to Tutti, Nina, direk Martin, and the ABS-CBN/Music Uplate Live crew.  Thanks to The Amazing Playground for the shirts and jackets we wore last night.  And thanks to everyone who watched the show and appreciated our music!   By this time, there should be some video uploads of the show last night.  Just look it up on Facebook.

Ian playing on my set-up during soundcheck.

Fan favorite Paolo takes his turn on my kit while Ian checks the keys.

K24/7 rhythm section. D, E, Ian & Gian.

All photos posted were captured using Anthony Dio's camera phone.

Jun Regalado Drum Lessons 2010

Legendary Filipino session drummer Jun Regalado will be accepting drum students starting this Saturday, May 15, 2010. Drummers of all levels - from beginners to professionals - are welcome. Plus, drum students will be able to choose which drumming style/s they want to learn.

This is a great opportunity for aspiring young drummers, as well as for advanced players who are still eager to learn more and improve their craft. Jun Regalado is one of the finest and most recorded drummers in the Philippines. He is also a very effective drum teacher. He has mentored a good number of professional drummers who are currently active in the Pinoy music scene.

For inquiries and schedule availability, please contact Mrs. Monina Regalado at (02)8231981 or 09156819826. Or you can send Sir Jun a message through Facebook.

Gear Review: Puresound Custom Wires

Many passionate drummers are conscious with their snare drum sounds. Many of us take great deal with possessing the best snare drum/s we can have, and checking out and understanding its technical specs (size, shell material, shell thickness, etc.), choosing the proper set of batter and snare side drumheads, then searching for the proper tuning. And when we are unable to find that perfect snare drum sound we've been hearing inside our head, we go on with our experimentation. This could involve trying out different brands and models of drumheads, which can be quite expensive for the average, blue collar drummer. Ah, the search for that great snare drum sound!
Yet, the most overlooked part of the snare drum is this set of wires underneath the drum where the instrument got its name. Yes, the snares! Snare wires are often ignored, yet it's one very important component in a snare drum sound. Back in the day, snare wires are pretty much generic. When your snare wires break down, there are plenty of generic, inexpensive replacement sets available in our local music store.

Thanks to research & development, and advancements in technology, snare wires are specialty equipment nowadays. We drummers can now purchase a set of these specially designed snare wires, which aims to upgrade or improve our snare drum's sound, performance, and overall quality. Today, there are several manufacturers who are offering snare wires of different models, gauges, materials, and various sorts of specifications. Among them are Puresound, who are best known for their quality wires and their Speedball bass drum beaters. Puresound's Custom Series snare wires are among the bestsellers in the market right now. Judging from the many artists who appeared on Puresound's ads on drum magazines and shared their testimonies, the Custom Series wires seem to be the real deal. At first, it may sound too good to be true. But after giving it a try, I am now a believer.

I've been using Puresound Customs on my Magic Drum 5"x13" Tama Artwood Maple snare drum since early last year. That workhorse drum had numerous modifications. It's been through different batter head changes, and I even replaced the throw-off mechanism. But the Puresound Custom wires were the biggest and most significant difference. I remember the day I beefed up the Magic Drum with the 13" 16-strand Puresound Customs. After mounting the Custom wires to the drum, then some tweaking and fine tuning, I just played, and played... And I kept playing! I was wearing a big smile the whole time. The Magic Drum was already a joy to play in the beginning; but with the Puresound Custom upgrade, it was like a rebirth for my trusty power piccolo. The overall quality of the drum's sound was leveled up notches higher. Snare sound was more crisp, more articulate, more sensitive, and more dynamic. Buzz roles and ghost notes are more defined and more effortless-sounding. And just like any other quality instrument, it easily responds to the player's touch. I also remember the Magic Drum's first gig with the Puresound wires. I got compliments that night from fellow drummers in the audience & even from my bandmates! (Note: You can backread this old blog of mine, where I documented my first experience with the Puresound Customs).

Just recently, I upgraded my Old Faithful 5.5"x14" Tama Starclassic Maple snare drum's stock snare wires. The stock carbon steel Starclassic snappy snare wires are no slouch, and it has done its job very well in the last seven years. But I was in search for a fresh new sound for my trusty all-around snare drum. Thanks to my godfather Chit Ramirez from the US, he shipped me a set of 14" 20-strand Puresound Customs. Just like my experience with the Magic Drum, I was all smiles with how the Puresound Customs revitalized my Old Faithful, with its snare drum sound now cracking like never before! I played the drum on church and on my recent gigs with my band, and every backbeat, roll, and ghost note was a joy to play. Oh how I wish Old Faithful already had Puresound Customs on when I was in the studio. Now I'm eager to hear how it will sound on future recording sessions.

I wonder how the guys from Puresound figured it out. It is the design of the copper-plated clip? Is it the medium-gauged, evenly spaced, premium-grade steel alloy wires? Or is it a combination of these elements, plus some secret formula or special design from the Puresound designers and engineers that we've never heard of? Whatever it is, the Custom Series wires are working well and it's bringing wonders to those who have experienced it. Up to this day, I still wonder how a simple snare wire upgrade can make an already good-sounding drum sound even way better? I would like to compare a Puresound wire upgrade on a snare drum to a stock car being pimped and tricked out into a leaner and meaner machine.

I would love to think of the Puresound Custom snare wires as my snare drums' ultimate secret weapons (though it's no longer a secret). The Custom Series snare wires may be more expensive than most wires available in the market, but it's the best investment I've ever made for my snare drums. It's definitely worth it, and I highly recommend it to fellow drummers who wish to rejuvenate their snare drum sound.

You can order Puresound snare wires here in Manila, through Vinci Rodriguez of The Drum Shop.

The Pearl Demon Drive: Another Ideal Pedal Choice

I mentioned in this blog which I wrote a couple of months ago about my aspiration of acquiring a very good double bass pedal, in particular, the Axis A Longboard model which I was able to try out at The Drum Shop. Like what I said, I admire its design and mechanical simplicity, and it works and feels like a dream. However, adding to its high costs (because it's made in the US), I have heard and read reviews & comments regarding reliability issues & how hard it can be to get hold of its spare parts. These concerns are huge factors for working musicians like me.

I still dig the Axis. But, as a strong alternative, I am now considering this product: The Pearl Demon Drive double bass pedal.

The Demon Drive is Pearl's latest pedal creation. Actually, it was introduced early last year, and it has become a hit among many drummers all over the world, especially to most double bass shredders out there. This is Pearl's most advanced pedal design. It's got direct link drive, Ninja ball bearings (which are used on skateboards), Zero Latency U-Joints, and a host of other convenience and performance features. The most impressive part is its ability to be converted from a split-type footboard pedal into a longboard pedal, and back. By far, this is the only pedal out of the market with that capability. Plus, it's an added bonus that it looks cool too.

But for me, the best things about the Demon Drive are: it's sold a bit cheaper than the Axis (and most high-end US-brand double pedals), it's Japanese (i find the Japanese brands more reliable), and spare parts are more accessible (thanks to Pearl's local distributor, JB Music).

I've already tried a single pedal version of the Demon Drive recently at a session gig in 19 East, where they have it on standby. It was easy on the foot and I like how it felt. And that pedal was on its stock splitboard mode. I wish I had the time to convert it in longboard mode & tinker with some of its settings.

I am now giving the Demon Drive a strong consideration.

New Era Drum Tracks

I want to look back at my recording sessions, and share some of my thoughts about my drum tracks in our New Era album.

I played drums on four tracks in our album - Sweetest Thing, Don't Ever Let Go, Your Smile, and Pangako.

Sweetest Thing

"My bandmates and I were in the studio, working on "Sweetest Thing", which is the last song we finished for our upcoming album. This is an original song written for us by our dear friend Mike Luis of Freestyle. Mike is a genius when it comes to songwriting, and the song is sooo good that it gave my bandmate Paolo quite a headache while he was working on it in his computer haha, figuring out some of the notes Mike used (because Mighty Mike wasn't able to chart the notes, I think). It's a groovy, bouncy, and catchy tune. Anyway, the vocal parts were recorded on Wednesday night. Earlier that day, we had a last-minute decision to have my drum parts recorded live. At first, we thought of programming the drum parts. But I thought that I should play the drum parts live. I like the song, I like Paolo's drum ideas for it, and I was determined to put my mark in that song. And so, we booked a recording date at Blue Door Studio in Quezon City (the same studio where I recorded my drum parts for 'Pangako'). I was scheduled the next evening."

"In the studio, I set up a small kit which I felt would fit the song just right. My drumming inspiration for this song is Ahmir "?uestlove" Thompson, drummer and producer of Philadelphia-based hip-hop band The Roots. I went for the less-is-more approach. For this track, I want my drums to sound crisp and tight, almost like a toy, but still "realistic" enough for listeners to say, 'Hey, those are live drums!' I used three drums - an 18"x 20" kick and a 14" tom, which are both from my Tama Superstar kit, and my 5.5"x10" Black Panther Premium Maple, my choice snare drum for this track. I set up a few Zildjian cymbals - a pair of 12" A Special Recording Hi-Hats and a 16" K Dark Thin Crash (the said cymbals belong to my drummer friend Marco Katigbak), and my 20" K Custom Medium Ride. I thought of using my 8" A Custom Splash, but I find it too bright-sounding for the song, so I decided to remove it on my studio set-up. Paolo thought of using flammed cross-sticks for the backbeats on some of the verses, which is why I had my 13" Tama Artwood Maple snare drum on standby for that purpose (since I won't be able to play cross-sticks on a 10" snare). But later on during the session, we decided not to play cross-sticks anymore. And so, it was the 10" Black Panther all the way."

--- excerpts from my October 29, 2008 blog


I am pretty much happy with the outcome of this track, as I was somehow able to estimate the sound and feel I envisioned for the song. We got the tight, snappy, toy-like sound out of the drums, plus the bouncy & playful feel. The 10" Black Panther snare was the star of the drum set-up I used in that track. I remember feeling quite loose during this session, so it enabled me to become more playful behind the kit. Yet, I was having that "?uestlove-ish", less-is-more vibe, and I was making sure that my parts would still serve the music right. The tricky part in this track is the bridge part, where the groove shifts to a tight 16th note feel, against the shuffle grooves played through the verses and choruses.

This is one fun song to play, and drummers who'll play to this song can go loose. I look forward to playing this tune live.

Don't Ever Let Go

"I just recorded some of my drum tracks this week at SoundsRite Recording Studio in Makati, which is operated by drummer Boyet Aquino (who is best-known for his work with Francis M's band Hardware Syndrome). The studio has a good reputation for its high-end equipment and facility & quality recording results, and its clients include a good number of big names in the music biz. Though Boyet has an impressive collection of high-end drums, I still chose to use my Tama Superstar kit."

"On the Monday night session, I recorded Don't Ever Let Go, which was written by Paolo. This is quite a difficult track for me because of the crafty drum parts Paolo envisioned for the song. This was the old song which we recorded at Blue Door Studio a couple of years ago, but had some bad luck. I'm already through with that unfortunate experience, and I'm glad that I'm able to perform better in the studio this time, without any technical problems."

"I can't remember what I ate that time, or if the stars were aligned during those nights. But for some reason, I feel good with recording my drum tracks at SoundsRite."

"In the studio, I brought with me my Tama Superstar kit, which has birch shells (birch drums are tried and tested in recording/studio situations). My toms are fitted with clear Evans G2 batters. My 18"x20" kick drum is fitted with an Evans EMAD batter and an Evans EQ3 Resonant black front head (with 5" offset hole). Though my drums are pretty much set up for live situations, I was eager to hear how it performs in the recording studio. At first, the drums sounded big and boomy. After some tweaking, we were able to get decent tom sounds which responded well in the mix and complimented the songs. I should try coated batter heads next time for the toms, for a warmer sound. The kick drum's heads needed to be loosened and Boyet placed some cloth inside in order to kill some of the overtones (because of the EMAD head, I don't have any muffling inside my kick drum). We were able to get a decent, thuddy, low-end sound from the kick."

"Opting to play simpler drum parts in the recording compared to what I would normally play on a gig, I only used the 10" and 14" toms, though I had the 12" tom set aside, in case it's needed. I was also able to use my 5"x13" Tama Artwood Maple and 5.5"x10" Black Panther Maple snare drums. I tried my Old Faithful 5.5"x14" Tama Starclassic Maple, but the Magic Drum and the Cat sounded more fitting for the songs. I was also able to use my two broken Zildjian K Custom Dark crash cymbals. Even if they had those cracks and were de-modified, they still retain that K Custom magic in their sound. It still has that complex, trashy & sophisticated character, while the damages dried up its decay. I kept these old cymbals because I felt that they'll work well in the studio. And gladly, they did."

--- excerpts from my April 26, 2008 blog


Don't Ever Let Go has become a favorite among most of our loyal friends and following. The story behind the making of this song is interesting. First of all, Paolo wrote this love song based on one bandmate's past relationship experience (guess who). Second, during the first couple of drum recording sessions for this song back in '07, the computer at Blue Door Studio crashed - twice! And during that time, never did that incident happened in that studio, which pretty much has a decent track record. And it's so funny and coincidental that the two gear crashes happened during the sessions for this one song. There's really something about this song.

Finally, we were able to record the drum parts at SoundsRite studio in the summer of '08. I think the delays on the drum recordings in '07 were destined to happen. Because during the SoundsRite sessions, I was more confident, I was more prepared, and I had my then-brand new Tama Superstar kit prepared for recording.

I think I finished the recording in a couple of hours, which surprised me because I never thought I'll finish that soon, considering the sensitivity of the song and some of the more specific drum parts Paolo wanted. Those drum fills during the bridge and the last chorus? I can't remember the number of times I did retakes! I would have played the drum parts differently in this track. But this was Paolo's composition, so with him being the composer and producer, I have to respect that.

I said this to most of our friends, and I'll say it again... Don't Ever Let Go is the most challenging song that I've recorded in our album. And it's even more challenging to play it live. Believe me, it's not as easy as it sounds.

In this song, my main snare drum is my workhorse "Magic Drum" 5"x13" Tama Artwood Maple. Plus, I have once again proven my theory on broken K Customs in this recording session. Despite the defects, they sounded lovely in the studio.

Your Smile

"I recorded Your Smile, which was a bit easier for me because of its groovier, more straight-ahead nature; yet we need to make sure that my parts feel and sound right for the songs."

--- excerpt from my April 26, 2008 blog

Many listeners would think that the drum parts in Your Smile are programmed. But no, the whole thing is 100% live recording. It might not sound obvious during the first half of the song, which is mostly straight-ahead cross-stick grooves. But once the snare drum comes in at the last chorus after the bridge, that would hint the use of real drums played by a real drummer. Listen to the dynamics of the snare drum backbeat. I was in my "drum machine" mode during this song's recording session, yet I still want it to feel like it's human. And I have to say, this is one of my favorite tracks in our album.

Two snare drums were set up for this track. The main snare is my "Old Faithful" 14" Tama Starclassic Maple. It has the die-cast hoops, so I played the cross-sticks on that drum. On the left side of the kit is the 10" Black Panther Maple, where I played the backbeats of the last chorus. In case you're wondering about the splash cymbal model I used for this track, it's a 12" Zildjian Extra Thin Splash, which my good friend Rommell Garcia lent to me.

Pangako

"Recording began at around 12am. I did a couple of practice takes then made adjustments such as fine tuning the drums, making sure that the drum sounds will fit nicely with the song. (Studio Assistant) Ian double-checked the microphone set-up and prepared a click track for me. Then we went on with the actual recording. I'm not aiming to finish quickly or become a one-take wonder. The most important thing for me is to serve the music by playing drum tracks which will compliment the song. But still, we need to be efficient and productive with our studio time."

"On my first take, I wasn't quite warmed up yet, and I was still absorbing the feel of the song, the drumkit, and the studio room. But I felt confident that I'll be able to do better takes as we progress. I think it was on my third or fourth take when I finally got in the zone. I was fully warmed up and my focus was on a high level at that point. I thought I made a couple of good takes. But we know the drum parts can still get better."
"Recording resumed at around 3am. I lost a bit of momentum, and my hands got cold because of the strong air conditioning. But good thing I regained focus, and I was able to do my best takes of the night. In order for me not to repeat the whole take, we just went back to the parts which needed refinement, such as cymbal crescendos and embellishments, some fill-ins, and some hits which will lock in with the bass guitar parts."

"My drumkit for this session is a Premier Artist Birch kit, which belongs to my good friend Ernest Ramos. I used two toms - an 8"x10" rack tom and a 14"x14" floor tom. Both toms are fitted with Evans G1 Coated batter heads. The kick is a 16"x18". Don't let its small size fool you. It's the biggest-sounding 18" bass drum that I've ever heard. It has a solid low-end thump, which often surprises those who hear it. The kick is fitted with an Aquarian Super Kick I Clear batter head, which contributes to that huge sound. The front head doesn't have a hole for the mic. I don't want to make a hole because the kit isn't mine and I don't want to ruin the nice white Aquarian coated front head. So we removed the front head and put a pillow in it (Ernest didn't put any muffling on his kick). The snare drum I used is my Old Faithful 5.5"x14" Tama Starclassic Maple, which is fitted with an Evans G1 Coated batter head and an Evans Snare Side 300 resonant head."

"I used my Zildjian cymbals. My hi-hats are a pair of 14" K Custom Dark Hats and my ride is a 20" K Custom Medium Ride. The two crash cymbals used are my semi-retired damaged cymbals, which I both acquired from my friend Bennii Obana sometime last year. On my left side was my freshly-cracked 17" K Custom Dark Crash, which I recently retired from gigging. On my right side was my de-modified 18" K Custom Dark Crash which had so many hairline cracks when I acquired it, I had it cut after I wounded my finger. Even if these crashes are damaged, they still have that spirit in their sound. I thought that I'd just save these cymbals for studio work, where I think they'll sound well. And they did sound exceptional in the studio."

--- excerpts from my November 16, 2007 blog


My drumming inspiration on Pangako is Jeff Porcaro. This is a love song with a pop arrangement and mass appeal, and I can't think of any other musical inspiration better than Jeff Porcaro, who was not only a groovy pop rock drummer with a solid foundation. He was a master of great feel and sensitivity. He had the knack for playing drum parts which fits best for the music, in relation to its theme and emotions. What mattered to Jeff the most is how the listeners feel the music. I recorded my drum parts for Pangako with Jeff Porcaro in mind. In fact, I think some of the drum fills I used reflected his huge influence on me. May this be my humble tribute to one of my favorite drummers. May God bless Jeff Porcaro's soul.

To fellow drummers who are curious about the accent cymbal I used during the bridge/guitar solo part, that was the broken 18" Zildjian K Custom Dark Crash on the right side of the set-up, which was trimmed down because of multiple hairline cracks. It sounded like a trashy china/crash hybrid, and it sounded great on recording. So, before disposing those broken cast cymbals, think about it first. You'll never know how they'll sound like in the studio. You'll never know if it's magic.

***


Final thoughts...

The music on Dry Your Eyes and Pangarap Ko'y Ikaw were arranged, programmed, and recorded by Jay Durias of South Border. So, if the songs are coming from a musical master, I wouldn't dare touch it! But if Jay would ask me to record the drum parts, I would have done it.

That Side Of Me and Prelude To Ecstasy might have been more slamming if we were able to record live drums for it. But it's alright, because it turned out just fine. Playing it live during our gigs would be a different story...

Come Back... It's the most perfect drum recording... Because there are no drums on it! ;)

I'm planning to play more live drums on our next album, and I would love to do something more refreshing and out of the box. I'm looking forward to that.

Pearl ePro Live Electronic Drumset

Just when I thought that innovative electronic percussion manufacturing giants like Roland, Yamaha, and ddrum have already created the ultimate in electronic percussion gear & have done everything to push design advancements and technologies to its highest peak, major acoustic drum manufacturer Pearl just took it to another level and slapped it silly! Pearl's new ePro Live electronic drumset was recently introduced, and it's beginning to make waves among drumming circles and the drum & percussion industry.

The video explains and demonstrates it in full audio-visual detail. This is very promising stuff.

Gearhead Thoughts: Back to Single Bass, For Now

Lately, I've been having mixed emotions about my recent decision. Last week, I sold my Tama Iron Cobra double bass pedal. So now, I'm officially back to single bass.

I sold my double pedal out of necessity and because of artistic reasons. To be honest, finances are quite tougher right now, with my new studio room and all the bills. I need some added funds to pay for my quarterly insurance bill, and I'm glad the sale was able to help me out with that. Musically, I was thinking of going back to single bass for quite some time, in order to go back to basics and concentrate more on my right foot. This idea is now fulfilled.

I've been playing single bass for a week now, which is quite a challenge for me because I've been playing double bass for so long that I got so used to it. My right foot is doing more work right now, while my left foot seems wired for playing two pedals that I need to adjust. It's funny because there were times during our gigs when I was about to instinctively play a double bass lick, and my left foot would naturally respond by shifting from the hi-hat pedal going to the twin pedal's slave pedal, only to realize that, "Oops, no more double pedal!" It has become a challenge especially during K24/7 gigs, where I found ways to integrate double bass in our style of music.

I guess I have to agree with my bandmate Paolo when he told me that double bass has become my trademark. It's a pretty unique quality, considering the idea that double bass is unusual on most mainstream musical styles, which includes R&B and hip-hop. I'm not really a heavy, speed demon type of double bass player. I choose when to use it in our music. I also have this goal or artistic intention of applying double bass on popular music.

When fellow drummers and musicians ask why I play double bass with K24/7, I would ask back, "Why not?" Drumset drumming is a constantly developing modern art form; it's still evolving up to this very day. Why not integrate double bass drumming on R&B, hip-hop, pop, and most popular, groovier styles of music? I think it's an interesting idea. Some drummers, mainly the younger ones, would often think that double bass is about speed and is intended for rock, metal, and heavier styles. It saddens me whenever there are some immature, close-minded, know-it-all types who criticize me for having a double pedal with K24/7. I know I'm not an advanced-level double bass player, I know I need to improve further, and I intend to work harder on my double bass technique when I go back to double bass. Personally, double bass is not limited to certain musical styles. It's all up to our creativity, and we can only be limited by our imagination. Plus, all double bass drummers should keep in mind that the guy who began the art of double bass drumming was this jazz/big band drummer.

We should keep in mind that in today's very modern times, thinking out of the box can be a very fruitful and wonderful thing. For example, we now see modern progressive rock/metal drummers who choose to play on small set-ups, instead of the stereotypical gargantuan multi-tom monster set-up. We all have the freedom to choose.

I have a strong admiration for dominant double bass drummers such as Virgil Donati, Derek Roddy and Mike Portnoy. I do wish I can someday reach their level of footwork speed, precision, and power. Yet, I also have a great admiration for tasteful double bass drummers like Simon Phillips, Tim Alexander, Steve Smith, Vinnie Colaiuta, Steve Gadd... and the list goes on. They are the types who are not so heavy and uber-technical on double bass; yet, when they choose to use it, their executions are very musical. Having a double bass pedal doesn't mean that you have to play it all the time. It's like a pianist has 88 keys on his synth, and that doesn't mean that he/she needs to use all those notes in one song. We need to pick our drum parts wisely, tastefully, musically.

Anyway, going back to single bass... Like I said, my drumming-related reason for going back to single bass is because of my intention of going back to the basics. And this includes my right foot technique. I feel like I need to work more on my right foot. When I was starting out back in the 90's, I was pretty much on the right track. I was so into those single bass grunge drummers - Matt Cameron of Soundgarden, Dave Kruzen and Dave Abbruzzese of Pearl Jam, Sean Kinney of Alice In Chains... I also dug the drumming of Eric Kretz of Stone Temple Pilots and Chad Smith of the Red Hot Chili Peppers... And thanks to these guys, I went back in time to discover the excellence of the late great John Bonham of Led Zeppelin... Thank Heavens for Bonzo's mighty, lightning-quick right foot!

I was so determined with my bass drum foot back in the day. Until one day, my heavy metal bandmates back in high school persuaded me to learn double bass, so that we can play some Metallica and Pantera tunes. At first, I wasn't so fond with the idea. Then after one jam session, they lent me a double bass pedal so that I can start practicing with it. From that moment on, and by the time I discovered the great progressive rock drummers, I got hooked with it.

Now I'm bringing back my enthusiasm for single bass. I've been playing single bass on church services in the last three years. The songs we play do not require double bass drumming. I once brought my double pedal at a church service, but I never really got to use it. I think I was only able to use it for a climactic ending for one fast song haha! Realizing that, I know that I'll just be fine without a double pedal with K24/7. It's just that, I got so used to playing double bass with my band. I find myself adjusting some of my drum parts. I'm missing double bass. I miss playing those "quad" fill-ins, those straight-ahead singles, those crazy song endings... I miss sneaking those double kick licks on songs like Icebox, Four Seasons of Loneliness, and our old-school MJ-EWF Medley.


I know I'll be going back to double bass sooner or later, and hopefully be able to score a better set of twin pedals. In the meantime, I'm rocking and grooving on a single bass pedal. I'm going to buy a nice single pedal soon...

Jamming on Bagets' New Gear

The photo above was shot last night. I dropped by at Off The Grill to check out Benjie Mendez and his new DW and Meinl gear, courtesy of Lyric. Bagets had a gig with Paolo Santos, Jano Queyquep (lead guitar) and Marlowe Mata (bass). A number of fellow drummers were present last night, which included Lyric's two representatives, Gep Macadaeg and Lester Banzuelo (Fuseboxx).

Bagets' DW drums sound absolutely amazing, and his Meinl Byzance cymbals are among the most crisp and cleanest-sounding metal I've ever heard. I feel that these instruments compliment Bagets' drumming style so well. Near the end of the first set, Bagets called me, then Jeff Lima to jam. I think Bagets wants to hear his gear played by other drummers, and/or he gave us the opportunity to try his DW/Meinl set-up. I was smiling almost the whole time when I was playing on Bagets' kit. It was such a joy to play! It really felt so good! It felt so easy playing those beautiful drums and cymbals, which responded beautifully to whatever touch or level of dynamics we play. It's like the kit is helping us play better. It's always a wonderful feeling to play musical instruments that allow us musicians to express better.

I felt very inspired after playing on Bagets' drumkit. Why? First, I'm so happy for Bagets' new endorsement deal. I can feel the happiness of my mentor, knowing the musical hardships and frustrations he's gone through all these years. He deserves all these blessings. Second, it goes to show that being truly committed and dedicated to your chosen art has its rewards. I am very aware that living a musician's life isn't a breeze, and there will always be tests and struggles along the way. But, I believe that if we musicians just keep on improving and developing, expressing our musicianship with dignity and conviction, being honest with our work, sharing the bounty, and be an inspiration to others, then it's by fate that we'll be rewarded in some ways.

As for myself, I don't know if it will mean more gigs for me and my band, or a future endorsement deal, or whatever opportunity that may come... To be honest, I don't really want to think about it. I don't want to think about potential financial or musical success, or fame, especially. Personally, I don't really want to become famous; but if it's bound to happen, I'm hoping that it will be in a positive way. Anyway, it's perfectly normal to dream on. But for now, I just want to get better as an artist. And deep inside, I feel that if we just go on, keep on learning, working hard, doing positive things, and be the best that we can be with our chosen craft, the rewards will come someday.

I'm really feeling so inspired right now...

Photo courtesy of Lester Banzuelo of Fuseboxx.

The Neil Peart Influence, Part 1: How I Got Into Neil, and Why I Revere Him So Much

Today is the birthday of Rush drummer Neil Peart. Happy Birthday!!

Many great drummers from past to present have inspired me to become a better drummer and musician. But no one else has inspired and influenced me more and in a life-changing way than Neil Peart. He is, and will always be, my biggest drumming hero; my number one drummer of all time. He not only influenced me as a drummer and musician. The man is a genius; an intellectual, a philosopher, a writer, a traveller... a brilliant and worldly human being with an insatiable thirst for knowledge and a never-ending pursuit for learning.

Many of my long-time friends are familiar with my reverence for Neil Peart. Some of you might wonder how a drummer like me, who is currently grooving with an R&B band on a regular basis and playing mainstream music for a living, was moved by one of the greatest rock drummers ever.
I first discovered Neil Peart and Rush back in high school. I was around 14. One day in school, I was hanging out during breaktime when I saw my friend and fellow drummer Rommell Garcia, and he's got this cassette tape in his shirt pocket. Out of curiosity, I asked what he had there, and it was Rush's 1989 live album, A Show Of Hands. That was the first time I saw a hardcopy Rush album. I was already reading Modern Drummer that time, and I've seen those old Ludwig and Zildjian ads with Neil on it, and he was praised so much by his contemporaries and mentioned frequently in the magazine (and they still do up to this day). I also recall a Neil Peart reply to one Ask A Pro inquiry, and I remember how long and detailed and convincing his response was. So, I was like, I have to check out this Neil Peart guy. I borrowed Rommell's tape, then listened to it at home after school.

From that moment on, life and drumming were never the same again.

Yes, I've become one of them; a Peart disciple; one of those thousands of drummers all over the world whose life was changed and enriched after hearing Neil and Rush for the first time. It must be some kind of Neil Peart obsession phase or syndrome, which I'm sure many drummers can relate with. I instantly became a fan, and got hooked to his crafty, muscular, and very creative drumming. After listening to A Show Of Hands for the first time, that was it! Going through the first few songs in the live album - The Big Money, Subdivisions, Marathon... plus numerous rewinds to recall those incredible drum parts... It was magic for me. I made a duplicate of that cassette tape, then studied it for hours and hours.

And the obsession continues. After that, I tried to look for all the Rush recordings I can find (their albums are pretty much hard to find on this side of the world). I went through my magazines and looked for any Peart-related article. I went through their recordings one by one... Moving Pictures, Permanent Waves, 2112... And the list goes on. I also got a video copy of A Show Of Hands, thanks to my buddy Michael Ong (guitarist of Fuseboxx). That was the first Rush/Peart video I've ever watched, and thanks to that, it became visually easier for me to figure out the things he played on his massive wrap-around double bass drumkit. The power, precision and craftsmanship of his drumming is phenomenal; not to mention, his integration of electronics and percussion instruments in his elaborate set-up. Seeing his Rhythm Method drum solo on video also took my Peart studies to another level, finally seeing how he did his famous solo. That time, the cross-sticking between the snare and floor tom was the killer for me. It took me all summer long figuring it out and trying to play it on my kit.

Up to this day, I still follow Rush and Neil Peart. Rush's newer albums may have mellowed by Rush standards, as compared to the more aggressive and exploratory nature of their classic 70's and 80's recordings. But the magic is still there, and they never fail to amaze me. I recently listened to their latest live recording, Snakes and Arrows Live, and they still sound so incredibly heavy, after over three decades of touring and thousands of concerts. Rush's music and Neil's drumming is timeless.

I recently got my October 2009 Modern Drummer, and it has this feature on Neil, titled "Reasons To Love Neil Peart". I am shocked that author Adam Budofsky confessed in the article that he "never loved Neil Peart", meaning, he never went through a Rush/Neil Peart obsession phase. I thought it was funny. But out of curiosity, and in order to confront his "Neil problem", he went through his research for this article, to cite the importance of Neil Peart in the art of drumming. He also invited 30 drummers who served as "panels of Neil experts", which is amazing because these drummers come from all different fields and styles of music, from jazz to R&B to metal. It goes to show that Neil's influence transcends musical boundaries; Neil's not just a rock drummer's drummer.

"Reasons To Love Neil Peart" noted 15 reasons/points on why Neil Peart is revered by many drummers. Here's my take on each of those 15 reasons...

1. Inspiration
Neil Peart's intense passion for drumming, music and life is infectious. Drumming-wise, his style has set a new standard, and has generated so much excitement to many drummers.

2. Precision and Consistency
Rush is known for replicating their recordings in their live shows, and it's amazing that after all these years, Neil is still very solid and consistent. Show after show, he is precise and consistent with his signature drum grooves and fills. And I agree, that's a hard thing to do.

3. Rising Above Technique
Neil is a technical drummer. But what I really admire the most is how creative he is in using his technique to make their music better and more meaningful. The rhythms and fills he created, it really fits the music of Rush.

4. Sound
Neil's drumkit sounds compliment his playing style. Personally, I don't prefer high tunings on toms. But according to the article, Neil tunes his toms very high (essentially in bebop range), which leads to an exciting, unique, and aggressive sound. I agree that it works very well on Rush's recordings and concerts. Neil's toms are very clear and articulate; one can hear the notes and identify which tom he's playing. Adding to his drum sounds are his signature Sabian Paragon cymbals, which has the presence, clarity, and cutting power that can match his drum sounds.

5. Ability To Garner Respect, Even From Non-Fans
Whether you're a Rush/Neil fan or not, Neil is very well-respected in many aspects. Everything he does, whatever he plays, writes, thinks, or stands for, he does it with dignity and conviction.

6. Expertise At Handling Odd Meters
My first odd meter lessons were Soundgarden, which brought me an understanding of how these are used in songs. Then, when I discovered Neil and Rush, they took my odd meter schooling to the next level. The best example is Limelight, where Neil smoothly shifts between 7, 6, 3, and 4 throughout the song. Other examples of notable Rush songs with multiple meter changes are Jacob's Ladder (from Permanent Waves), Subdivisions (from Signals), and Freeze (from Vapor Trails). I also dig how Neil mathematically breaks down or plays around time. Examples are the "7/4 War Furor" section (3:54) of By-Tor And The Snow Dog (from Fly By Night), and the 7/8 instrumental sections of Tom Sawyer (from Moving Pictures). Thanks to Neil and Rush, when I moved on to Dream Theater, Tool, Porcupine Tree, and other modern progressive groups who heavily use odd meters, I can already "get it".

7. Elaborate And Impeccably Designed Kit Setups
For me, Neil is the ultimate "poster" drummer. I enjoy looking at photos of Neil with his massive and beautifully designed drumkits. Neil's drumkits are also among the most recognizable, especially his wrap-around kit mounted on a rotating octagonal stage. Neil's use of multiple percussion instruments such as crotales, tubular bells, cowbells and blocks are also noteworthy. Many drummers dream of having a drum set-up as impressive as Neil's. Some fanatics even duplicated Neil's set-up.

8. Desire For Self-Improvement
Neil considers himself as an endless apprentice of his chosen art form. Even if he's already among the greatest drummers in the world, successful, multi-awarded and well-respected, he's not the kind of person who will be easily contented, resting in his laurels. He has the endless desire to further improve himself. During the 90's, he went to master teacher Freddie Gruber for further lessons, which has significantly improved his sense of feel.

9. Drum Solos
Neil Peart is a master of the art of soloing. His innovative structured drum solos, a frequent highlight on Rush shows, continues to awe and inspire many drummers.

10. Precisely Orchestrated Parts
Neil has created some of the most memorable drum parts in rock music. His grooves and fills on classics such as Tom Sawyer, Limelight, and YYZ (all from Moving Pictures) have become integral parts of the songs. These songs won't sound the same without those exact signature drum parts.I also dig Neil's timely use of percussion instruments and effects cymbals. Fine examples of songs with well-orchestrated drum and percussion parts are Mystic Rhythms (from Power Windows) and Tai Shan (from Hold Your Fire).

11. Incorporation Of Electronics
Neil is among those great drummers who are in the forefront of electronic percussion technology. His integration of electronics in his set-up is relevant especially during Rush's "synthesizer years" in the 80's.

12. Hi-Hat Work
Whether incorporating it on fills or driving sixteenth notes, Neil's use of the hi-hat is noteworthy. Some fine examples of Neil's amazing hi-hat work are La Villa Strangiato (from Hemispheres), New World Man (from Signals), The Big Money (from Power Windows), and Prime Mover (from Hold Your Fire).

13. Support Of Other Players
Somehow, I see Neil as an ambassador of drumming. He is known to acknowledge or give credit to fellow drummers. Even if he's more of a private person and is seldom seen on drumming events, he is very supportive to the drumming community.

14. Burning For Buddy
Neil is responsible for producing Burning for Buddy, an all-star drumming tribute to the late great Buddy Rich. It's wonderful that Neil thought of organizing such a project to honor one of the greatest drummers who ever lived.

15. Elevation Of The Perception Of Drummers
Neil's impact on all of us drummers from different walks of life and fields of music is very significant. Neil has helped put drummers on the spotlight. He is continuing how Gene Krupa elevated the status of drummers as being the guys who "just hit things and make noises on the side." For me, Neil is a "thinking man's drummer". His care, intelligence, and worldliness (according to the article), plus his boldness, creativity, passion, and inner drive and desire brought the art of drumming to higher levels. Add his brilliance as a lyricist and writer & his zest for life, reflected from being a reader, philosopher, adventurer, traveller, motorcyclist, and cyclist. Neil Peart is one brilliant human being; simply one of the most inspiring individuals on earth.

 

All photos from Drummerworld.com.

More Neil Peart blogs soon...