Mike Alba's Muscle Memory Workout Program (Module 2)

MADP Module 2, Batch 3: From left-right: Weng Saavedra, Lawrence Alba, Master Michael Alba, Ed Catalan, and Anthony Dio

Michael Alba's Muscle Memory Workout Program Module 1, which I took up and finished late 2010, has been significant to my drumming and musicianship, as Filipino drumming master Mike Alba have shown me and my peers the right path to a much better drumming performance (as documented on my Module 1 testimony, posted a year and a half ago).  Like I said, this was among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

A couple of months ago, I just finished the Module 2 Program, which took every drumming and musical aspect notches higher and further challenged our drumming, in terms of technique, performance & creativity.  The way I see it, Module 2 is a super-sized version of Module 1, which pushed me and my peers to our limits.  In no particular order...

Module 2 pushed me to become a more well-rounded and versatile drummer.  Various musical styles were covered, from hard rock to smooth-swinging jazz, from pop to contemporary fusion, from funk to improvisational, odd-metered, and world music-inspired pieces...  There's always something to be learned from every genre, and all these greatly helped us in understanding and appreciating different styles.  Versatility is an important factor in becoming an effective musician especially in a session/mainstream setting.  So learning various styles do pay off.  Plus Sir Mike's selection of tasteful yet challenging play-along pieces are worth reviewing.

Module 2 simulates real-life career situations, and it pushed me to manage my time and practice habits.  Every Module 2 homework consists of at least 3 challenging play-along tracks and a couple of creativity exercises which challenged us to create our own original parts.  So it was also an exercise on time management, as we juggled our woodshedding hours with our nightly gigs, day jobs, school, quality time with loved ones, and whatever routine or schedule we're going through our everyday lives.  And with how Sir Mike gave out our assignments, he's like a musical director handing out the pieces we needed to play, and we only had a few days to nail down everything!  So it was like a real-life session scene, where we're expected to be on top of our game, learn new materials fast and effectively, and be able to come out with drum parts which will work for the music.

Module 2 pushed me to work harder on my sight reading.  For me, the Module 2 Applied Sight Reading (ASR) Exercises are like Module 1 ASR Exercises, but on steroids!  With its various mixes of notes, rests, and figures (in particular, plenty of triplets, sixteenths and thirty-second notes, and don't forget the infamous fermata), these are guaranteed to be incredibly challenging, even for drummers who are already used to sight reading.  But once mastered, or at least be able to go through it, it will greatly help with our sight reading skills, plus our speed, endurance, articulation, and dynamics.  Well, I'm still not the fastest sight reader, but thanks to the Module 2 ASR exercises (plus the more challenging play-along charts), my reading skills improved.

Module 2 pushed me to review my drumming techniques.  From the way I hit a snare drum backbeat to the style of footwork I use for my bass drum technique, Sir Mike showed us the right way to proper technique in order for us to play better and execute our parts more convincingly.  Like I said about Module 1, Sir Mike's still the Quality Control guy in Module 2.  Besides showing us and reminding us about the proper hand and foot techniques, he still made sure that our execution is a musical statement.  The dynamics, the proper volume, the effective way to hit every drum and cymbal...  Sir Mike wants us not only to play better, but also to sound better.

Module 2 pushed me to further respect and appreciate the drumming gods.  It's not that I do not revere the likes of Jeff Porcaro, Steve Gadd, Dave Weckl, John Robinson, David Garibaldi, Will Kennedy, Vinnie Colaiuta, and all these amazing drummers (I love and worship them all!).  In Module 2, we learned how to play their classic drum parts correctly and with conviction.  So our respect, admiration, and fascination for these legends grew deeper.

Module 2 pushed me to become more creative.  With the thousands of amazing drum licks and chops already invented and played over the years, are we still capable of creating a new, original drum part?  The answer is YES, and Sir Mike's system made our creative juices flow, as we orchestrated our original fill-ins during the Module 2 sessions.  Plus, whether we love soloing or not (I don't consider myself a good drum soloist, and I often dread playing drum solos), there were several activities in Module 2 which challenged us to perform effective drum solos, which should still be a musical statement instead of just scattered pieces of notes, chops, and licks.

I can go on and talk more about Module 2.  But of course, I don't want to give away too much information (for the sake of future Module 2 students).  The bottom line is, Module 2 is big boy stuff. It will push you hard.  It will challenge you.  It will inspire you.  And it can even frustrate you (in a constructive way).  But at the end of the day, as long as you persevere, remain patient, and work hard on practicing and honing your craft, going through Module 2 is a very rewarding experience.

Thank you very much Michael Alba for being a wonderful and inspiring mentor.  You did it again, Sir Mike!  You are a blessing to me and my peers.  Thank you for your passion, generosity and positive spirit.  To my Module 2 Batch 3 classmates - Lawrence Nolan, Weng Saavedra, and Ed Catalan: It was an amazing Module 2 adventure with you guys.  Thanks for the friendship and support!  To Doc Jigs Asinas, Module 2 Batch 3 misses you!  To Kent Pedraja of KNR Studio in Cubao, Quezon City, thank you very much for the excellent venue for our graduation day and drumshed session!  To fellow Mike Alba Drum Program graduates Ruben Tecson, Christian Enriquez, Nigel Norris, and Otep Conception, thank you very much for all the help, brotherhood, enthusiasm and laughter during our Module 2 Graduation Day!

Best wishes to all our drumming and musical endeavors!  God bless Mike Alba Drum Program!

Photos courtesy of Ruben Tecson (copyright; posted with permission).

Mike Mangini: New Drummer of Dream Theater

Finally, Dream Theater introduced their new drummer a few days ago, replacing the mighty Mike Portnoy.  Way to go, Mike Mangini!  The three-part The Spirit Carries On video series which documented Dream Theater's search for a new drummer, highlighted by the audition of seven world-class technical drummers.

Thanks to this video series, which was recently uploaded by RoadRunner Records on YouTube, I gained respect and appreciation of Mike Mangini's talent, abilities, and attitude.  At first, I was thinking of Marco Minnemann, who I think would have been also a great fit for Dream Theater.  But I thought that Mike Mangini would do a wonderful job in carrying the torch.

* Check out Mike Mangini's interview (04 May 2011) on Modern Drummer Online.

* You can backread My Sentiments on Mike Portnoy (and his Dream Theater departure), written on September 14, 2010.

UKZ - Radiation

Happy New Year, folks!

To kickstart my blog this 2011, I'm sharing this music video of an awesome progressive rock piece by virtuoso supergroup UKZ, featuring German superdrummer & ambidextrous technical wizard Marco Minnemann.

UKZ is a virtuoso supergroup formed by former 'UK' keyboard/electric violin legend Eddie Jobson with ex-King Crimson stick player Trey Gunn; Austrian guitar prodigy Alex Machacek; former Expanding Man vocalist Aaron Lippert; and German drumming phenom Marco Minnemann.

The video features some great overhead shots of Marco, showing some of the challenging things that he can effortlessly do on the drumkit.  Plus, I'm digging his Ghost In The Machine (The Police) t-shirt.

I'm also opening the year with the most curious inquiry...  How true is it that Marco Minnemann is the new drummer of Dream Theater?  Honestly, I think that'll be a very exciting team-up, musically.


*Special thanks to my friend, Fuseboxx guitarist Michael Ong, who shared this video on Facebook months ago.

Mike Alba's Muscle Memory Workout Program (Module 1)

From L-R: Anthony Dio, Lawrence Nolan, Dr. Jigs Asinas, Paulo Garganta, Dom Banguis, & Sir Michael Alba.

The last six weeks have been very significant in my drumming and musical life.  I enrolled at Module 1 of Muscle Memory Workout Program of Michael Alba, one of the best drummers in the Philippines.  I just finished the program last Tuesday, and I have to say, this is among the best investments I've ever made for my drumming.  Everything I learned here, I will be carrying with me all throughout my drumming life and my professional career as a working musician.

Prior to enrolling in this program, my need for improving my drumming has grown greatly & I've been yearning for some musical inspiration.  I always see myself as an endless apprentice to the art of drumming, and I always wanted to grow and develop as an artist & take my craft to the next level.  And specifically, I also needed to improve my technique.  Just when I was searching for some education and inspiration, Mike Alba and his Muscle Memory Workout Program came in.  It was a blessing & a matter of right timing.

Batch 2.

What is the Muscle Memory Workout Program?  It is a 10-session drum curriculum designed by Mike Alba.  One session is two and a half hours long.  The workshop consists of five students per batch (five, because it's the most number of drummers Sir Mike can accommodate in his home studio in Quezon City).  The main topics covered in this drum workshop include endurance exercises, workout exercises on groove and rudiments, applied sight reading, music dictation, and developing drum charts and musical roadmaps.

I don't want to give away too much information regarding what was covered throughout Mike Alba's program (for the sake of Sir Mike's future students).  But here's what I can share.  Everything I learned in Mike Alba's program is totally practical and useful to me as a working pro.  Though I still need to continuously practice the exercises and sharpen my technique and note-reading, I instantly felt a huge difference in my playing.  In fact, just after Day 1 of the 10-day program, I can already feel and hear the difference.  And it's cool that my bandmates even noticed it.  On one gig, they were like, "Hey, there's something new here!", and "I can hear those sixteenth notes much better now!"  I'm still a work in progress, but I sure owe it to Sir Mike.

Mike Alba's modified Virgil Donati workout indeed does wonders to a drummer's hands.  Like Sir Mike, this has already become part of my pre-performance or pre-practice warm-up routine.  Sir Mike recommends that we do it at least once a day.  We can do it twice a day, and we'll get much better.   And we can do it three times a day, and we'll become invincible!  As long as this becomes part of our daily drumming routine, the results are guaranteed.  It's a great muscle memory workout for the fingers, hands, wrists, and arms, and it's a great help for our endurance, control, technique, dynamics, and articulation.

I'm already quite familiar with some of the most commonly used rudiments, such as singles, doubles, and paradiddles.  But when Sir Mike presented us his workout on rudiments, it was an added dimension for me.  First, since the rudiments were on paper, it was also a sight reading exercise, so it's a muscle memory workout for the eye.  And second, Sir Mike focused on some of the rudiments which are commonly applied on the drumkit, and he also shared some interesting ideas on how we can integrate it with our grooves and fills.  With practice and patience, these rudiments can serve as additional vocabulary in our drumming arsenal.

Admittedly, I'm a slow sight reader, and the last time I actually sight-read drum charts on a regular basis was way back during my college days with the DLSU Pops Orchestra.  Sir Mike's applied sight reading exercises are a huge help.  For me, it was like a review and a rediscovery.  This also serves as a coordination workout between the eyes and the limbs.  The sight reading pieces were written by Sir Mike, and in the program, it is played on the snare drum or practice pad.  One cool thing about this is he used some of the most commonly used figures on session work, such as eighth, sixteenth and triplet note combinations.  So this serves as another muscle memory workout for the eyes.  Sir Mike also encourages us to be melodic by trying to sing these figures & play it around the drumkit instead of just on the snare drum or pad.  Again, these can be used as additional tools in our drumming vocabulary.  Plus, Sir Mike helped me in becoming more confident with my reading skills.

My favorite part of the class is what I like to call the groove session.  This is where we listen to songs (for the program, Sir Mike has selected a repertoire of actual recordings coming from different styles and eras), then develop musical roadmaps, write drum charts, and play along to those recordings on the drumkit.  For me, this is the most musical part of the class.  Though it's my favorite part, it can be the most grueling.  Our assignments of charting the songs, learning it, and playing along with it is not as simple as it sounds.  Several songs may seem simple to play, but it's not as easy as it sounds.  Sir Mike wants to make sure that we nail it right, for these are valuable skills required for session work.  For me, these exercises also serve as training tools for our listening skills, our attention to detail, our musicality, and our discipline.  As a pro, I've been covering songs for years.  But now, Sir Mike's methods help me enhance these skills, which are essential for pro drummers who do session work or in pop/mainstream settings.  The groove sessions also taught us and reminded us of the value of respecting the music, plus we get to further appreciate the great drummers who played on the recordings.

Every class ends with a Drumometer session, where each of us plays on a pad with a gadget that records the number of single strokes we play in one minute.  At first, I wasn't really interested in developing my speed to extreme levels.  But what I appreciate about the Drumometer is it's a great practice tool that can monitor our progress.  And it's not only about speed.  It also puts a great deal on control, endurance, and technique, which are factors in developing greater speed.  And hence, the Drumometer can be tool that can help our hands become much better.

Other than the specific activities and lessons I mentioned, there are plenty more things that we have learned from Sir Mike.  Finally, I learned how to play the brushes effectively (which is one of the favorite things I've learned from Sir Mike, since brushes have been a long mystery and frustration of mine).  I also learned a few new tricks and licks around the drumkit.  It's also cool that Sir Mike is very observant of our playing, whether on the drumkit or on a practice pad.  Sir Mike is a patient and a very motivating mentor.  He also makes it a point to correct our bad habits, and he does it in a professional and constructive manner.  In my case, I've already adjusted some of my bad habits, and I'm still in the process of strengthening my left hand and my technique.  Even if the program's over, it's still a continuous learning process.  Mike Alba's program sure makes us spend more quality time on the woodshed.

I admit, it can be quite intimidating to play along to a track in the presence of one of the best drummers in the Philippines observing you nearby.  But he's a really cool teacher, and he's very easy to get along with.  There were moments too when Sir Mike gets to share his stories, such as his experiences as a pro, as a student at the Los Angeles Music Academy, and some of the famous drummers he met.  Even all these talks and his sharing of knowledge and wisdom are inspiring.

One factor that I appreciate regarding Sir Mike's program is the fact that he is very particular with quality.  We may have all the technique in the world.  But if it doesn't sound musical and if it doesn't feel great, it won't matter at all.  Sir Mike is like a quality control guy.  He wants to make sure that we're not just technically solid, but we'll also be sounding and feeling great too.  And quality means a lot on session work, which I realized and learned later on.  It seems that Sir Mike's program is highly geared towards drummers who are in the session scene or in a mainstream setting.  Hence, his program is highly recommended for drummers who aspire to have a fruitful career towards that direction.  Though it's not limited to that; anybody who simply wants to improve or enhance their skills will greatly benefit with Sir Mike's program.

Another thing I appreciate so much in Mike Alba's program is the fact that we are a class of five students.  Most drum lessons (or any other musical instrument) are traditionally one-on-one sessions.  What's great about having classmates is first, it's great to meet new friends and extend the drumming camaraderie.  Second, I get to appreciate my classmates' drumming.  We may have similarities and differences in regards to musical backgrounds, preferences & tastes, among many things.  We have our strengths and weaknesses as well.  But it's cool that we are all on the same boat.  Each of us still wants to push on and improve with our craft, which is why we're studying with Mike Alba.  It's also understood that being in a class is not about competition, which takes us to my next point.  Third, we get to gauge each other in terms of improvement.  It's like for example, when I notice my classmates already improving on their rudiments or sight reading or their Donati workout routine, I tell myself, "I better catch up!"  It's like a subconscious way of encouraging myself.  And on the other end, if some classmates are catching up or having some difficulty, the rest of us would express our encouragement.  It's not about outdoing each other.  To be in Mike Alba's classes is a brotherhood, where my respect and admiration for each of my classmates have grown as the sessions passed.

The apprentice & the master.

Our graduation day last Tuesday, December 7, was the icing on the cake.  At the final day of the program, we played our individual applied sight-reading pieces, grooved along to our special graduation day play-along track, and had a final music dictation test.  It's also cool that after all that, Sir Mike handed each of us a special Certificate of Completion.  We had a pot luck feast afterwards, and I even got to blow a candle on a chocolate cake, since it was my birthday a couple of days earlier.  And of course, during our merienda, it was more drum and music talk & sharing.  Ah, the drumming community!

Thank you very much, Sir Mike Alba.  You're a blessing to all of us.  Just when I needed improvement and inspiration, you came along like an answered prayer.  You're an awesome world-class musician and an inspiring mentor, and I'll always cherish the times spent & all the lessons I learned from you.  Continue to be an inspiration to me and to everyone.  And to my Batch 2 classmates --- Lawrence Nolan (my seatmate & our Drumometer king), Paulo Garganta (all the way from Batangas; thanks again for the coffee & all the talk on the road), Dom Banguis ("speak softly; carry a BIG stick" --- wow those are HUGE warm-up drumsticks!), and Dr. Jigs Asinas (the heavy metal guy & the most "well-compensated" among us; one of the most humble and down-to-earth dudes I've ever met) --- it's my pleasure to meet you and be classmates with you guys.  I admire and respect all of you, and studying & learning is a blast when it's spent with good people like you.  Great drumming!  Cheers to Sir Mike!  Cheers to all of us!

And so, that's all for Module 1.  Module 2, which will be set sometime next year, is in the works.  And the work in progress goes on...

*Photos courtesy of Sir Mike Alba & Dr. Jigs Asinas.

Musical Inspirations - November 2010

This month, three musical events inspired me so much as a drummer and musician.

First is the "Muscle Memory Workout Program", a drum workshop designed and mentored by the great Filipino session drummer Mike Alba, which is still ongoing.  I'm planning to write a blog about this experience after our graduation day about two weeks from now.

Second is The Wedding Singer.  Most of the musicians from this production, who are all part of the Manila Philharmonic Orchestra, are good friends of mine.  Thanks to Criss Buenviaje, my church bandmate & one of the guitarists in the musical, I was able to watch the hit musical and the musicians from the orchestra pit, which was a highly interesting and educational experience for me. 

JC Magsalin & Junjun Regalado at work.

The hit theater rendition of The Wedding Singer was as funny and as charming as its original movie version, and it would be great if they do a repeat run.  I had a great time watching the musical, though I had a much more enjoyable time watching the musicians do some live theater work.  My friends from MPO who were part of The Wedding Singer include drummer Junjun Regalado, bass player JC Magsalin, and guitar players Adam Cesante and Criss.  With them are three senior piano/keyboard players who are seasoned, veteran musicians.  So, The Wedding Singer Band is a group of seven highly-qualified and highly-skilled musicians.  

What really struck me about performing on musicals is how high the stress levels are, especially with drummers.  I was keenly observing Junjun, who was using a set of Roland V-Drums electronic kit for this musical (which is appropriate, since the storyline's set in the 1980's).  What he's doing throughout the show is one grand juggling act.  Besides his obvious job of playing the drums, he also needs to cue the band and the actors on some scenes, he needs to set the tempo (with the help of a metronome on his left side), and he needs to make sure that he's using the proper drum sounds/patches, which are indicated on their charts (while note-reading is another major chore!).

It's amazing how Junjun pulls it off, and it seems like there's no difficult gig a talented and experienced professional drummer like him can't handle.  I would imagine what could happen if things go wrong and a little mistake can become one domino effect of tragic proportions.  The other guys may also have their respective cues during the show, but Junjun's cues are so crucial.  In fact, there was one part of the show where Junjun almost missed a cue, which should be nerve-racking for any musician.  Yet somehow, they were able to pull it off and get back on track, which JC told me was among their on-the-spot Plan B schemes, in case a worst-case scenario happens.

Upon witnessing these fine musicians at work in the pit, I've come to realize once more the value of a very good drummer in a band or a production.  No doubt, drummers are the foundation of great bands.  And Junjun sure did one heck of a mighty fine job.  I already know that these friends of mine are quality musicians who I revere so much.  But after observing them at work at The Wedding Singer, my respect and admiration for them just grew much greater.

Third is the piano/keyboard clinic by the talented Nikko Rivera, a known prodigy on the keys who is now an ace session musician and a member of the Filipino supergroup Yosha (which also includes Mike Alba on drums, Karel Honasan on bass, and Yosha on vocals).  Nikko is an endorser of Korg musical instruments, and his clinic was organized by local Korg distributors Audiophile.  It was held at the Audiophile showroom in Robinson's Otis Mall in Paco, Manila just last Wednesday (November 24).

Nikko's clinic/program was divided in three parts.  First was the classical set, where he had a duet with a cellist, playing a Mozart piece.  Second was the jazz quartet setting, where he played with a drummer, a double bassist, and a trumpet player.  And last but not the least, he played with his band Yosha, playing a Latin jazz tune (from Michel Camilo), a fusion tune (from The Yellowjackets), and a special arrangement/medley of their original songs.  All these performances from Nikko and his crew of superstar-caliber musicians were totally awe-inspiring.

For me, a musician like Nikko Rivera is so inspiring not only because he's a natural talent, but also because it's obvious that he is passionate with music, he has dedicated himself to his craft, and he worked hard to get where he is right now.  At a relatively young age, he's already got tons of musical experiences on his profile, he's been to different places & he's already played with so many notable artists.  Now, he's an official Korg artist, and with his current musical career, there's no way to go but up and he's still got many more years to make music.  Same goes for the musicians Nikko has played with during his clinic.  Each musician is continuously studying and working hard to master their chosen instrument, and their heart and dedication are undeniable.

Which is why it's always healthy for me as a musician to go out and witness incredible musicians at work.  It's always a humbling reminder for me to work harder and to continue improving with my craft.  I salute all the fine musicians out there, and I thank you all for the inspiration.


* Photo of JC Magsalin & Junjun Regalado courtesy of Criss Buenviaje.

Fil-Am Drummer Susie Ibarra on Modern Drummer December 2010

Being a Filipino drummer, it gives me a great sense of pride to see eclectic Filipino-American drummer/percussionist Susie Ibarra on the cover of the December 2010 issue of Modern Drummer magazine.  As far as I know, Susie Ibarra is the first MD cover artist who is of Filipino descent.  I don't think there are any other Filipino drummers before her who made it to the cover of this prestigious drumming publication.  I've learned about her cover appearance and feature early last month, and since then I was excited.

Finally, I was able to get my copy early this week.  The first thing I did was to go straight to the pages of her MD feature and scan through the interview and find references of her Filipino roots and heritage.


"That (a track on Drum Sketches) was recorded in the south of the Philippines at the Shariff Kabunsuan Festival, on the last day during a fluvial or boat parade.  All of the provinces in the area compete for a cash prize.  They decorate their boats with multicolored flags, and there are thirty people on each boat playing kulintang ensemble gong music.  They come down the river with this massive sound.  You have different gong ensembles crossing the river, producing waves of sound."


"When I first took him (her husband, Cuban percussionist Roberto Juan Rodriguez) to see the parades in the Philippines, they reminded him of his native Cuba.  He related as a Cuban artist in the way the interlocked rhythms worked, especially with the bass gong.  It added that Cuban drive to the music."


"We (Susie & husband Roberto) both come from dance cultures.  Filipinos and Cubans love to dance.  Rhythm is in the community --- in Cuba, if you want to learn piano, they put you on drums first --- and that explains why in Cuba and the Philippines they have such a deep pocket and culture of rhythm."


- Susie Ibarra, Modern Drummer, December 2010


She also cited the albums Pakaraguian sa Maguindanao: A Celebration of Kulintang Music And Dance by Danongan Kalanduyan & Palabuniyan Kulintang Percussion Ensemble, and Asibang-Lan, Pinukpok, Balbalan, Gong, and Percussion Music: Ang Musika Ng Mga Kalinga Music From The Kalinga in Northern Luzon, Philippines by various artists as among her favorite albums.  I wonder where I can find these albums.  It's also cool to see some Filipino names & terms printed on an international drumming publication.

Admittedly, I have yet to listen to Susie Ibarra's numerous recordings, which are hard-to-find and not easily accessible on this side of the world.  I only get to hear some audio samples and watch some of her videos posted on YouTube.  Yet I am in great admiration of Susie Ibarra's works and her intention of celebrating her Filipino heritage by incorporating some of our indigenous instruments and rhythms to her music.  Her intention of introducing and educating her audience to Philippine rhythms and ethnic instruments should be given recognition. 

Applying our Filipino indigenous rhythms and instruments to modern styles of music is something that I would love to do someday, as documented on my blogs about the Filipino ethnic instruments workshop I attended last July*.  While Susie Ibarra may be applying it through jazz and world music, I am hoping to find a way to incorporate it with modern or contemporary musical styles.  It would be great if it can be done in a mainstream or pop setting, so that it can reach an even greater audience.

Susie Ibarra is a talented and creative drummer, percussionist and rhythmatist who, as Modern Drummer described it, "extends beyond boundaries, beyond cliche, and beyond a common understanding of what a drummer's role is and ultimately can be."  I do hope that she would conduct shows and an educational seminar here in Manila in the near future.  And I do hope that more Filipinos would recognize her.  Susie Ibarra is proud of her Filipino heritage.  And Susie Ibarra is a world-class artist whom we Filipinos can be proud of.


* My Filipino Ethnic Music Instruments 101 Experience - Part 1 (July 21, 2010) & Part 2 (July 24, 2010).

Check out Susie Ibarra's website, which is cool because there are several photos there which reflect her pride of her Filipino roots.

The Simon Phillips Influence

As documented on my recent blog entry, with my purchase of a second-hand yet still good set of DW double pedals, I just returned to double bass drumming.  Currently, I am in the slow and steady process of re-learning double bass, working more on my footwork strength and technique.  As far as my personal style and preferences are concerned, I don't think I'll ever reach the extreme double bass skills of today's technique and speed demons such as Virgil Donati and Derek Roddy.  And with my band's style of music, I cannot utilize double bass all the time, as much as how dominant double bass drummers like Mike Portnoy, Charlie Benante, and Vinnie Paul did with their respective bands and recordings.  I guess I'm grooming myself more into a tasteful, musical, and occasional double bass drummer, opting to play double bass when it's called for in the music.

And speaking of tasteful and musical, my double bass studies have brought me back to one of my favorite drummers, a significant innovator in the art of double bass drumming, and among the best rock drummers of all time...  Simon Phillips.

I always thought of emulating Simon Phillips' drumming style, which I like so much.  It's also interesting to notice such diversity in his skills set.  Simon is often described as the consummate rock drummer.  Yet he is so well-rounded, for he can convincingly play different styles, such as pop, fusion, and jazz.   Simon's drumming style may be technique-oriented.  Yet he's also groovy and fluid.  His drumming feels oh-so-good.

Simon's been playing on the same signature double bass, multi-tom, open-handed Tama drumkit set-up in the last 30 years or so.  Though people who are not familiar of Simon's drumming may have the impression of an overplaying basher on a monster drumkit, it's actually the other way around.  Simon is no hard hitter (to the point of breaking stuff).  He treats his huge drumkit as one powerful musical instrument, meticulously creating musical drum parts with every tom, octoban, and gong bass.  Simon's also got excellent ears for great drum sounds, which seem to be a mix of the more focused fusion drum sounds & the bigger-than-life rock drum sounds (which I also like).  And of course, I mentioned his wonderful double bass technique.  Take note too of his open-handed playing style, his knack for composition, & his ability to create very cool drum licks and fills.

Embedded below are three video excerpts coming from his instructional videos in the 90's.  The instrumental performances also feature guitarist Ray Russell & bassist Anthony Jackson.  The three examples below best represent what Simon Phillips is all about.  Power, finesse, groove, feel, technique, style, creativity, musicality, great drum sounds, cool drum parts...  I would love to emulate Simon Phillips' style.

Well, except for those old-school tights.  I'll never wear one.

My Simon Phillips blogs from the past:

Toto, Live in Manila '08: My Concert Hangover, 04 April, 2008.

Zildjian Day Manila 2005: Simon Phillips Drum Clinic, 31 October, 2005.

My Sentiments on Mike Portnoy (and his Dream Theater departure)

"This is a sad, sad day....I'm afraid I have some bad news.... MP/DT Sept 1985 - Sept 2010"

--- Mike Portnoy, via Twitter/Facebook, 09 September 2010, 8:23am (Manila time)


I am one of the millions of Dream Theater fans from all over the world who are in a current state of shock and sadness, all because of the surprising departure of their drummer & one of the founding members, the mighty Mike Portnoy.

Mike Portnoy's Press Release, 09 September 2010
Dream Theater's Press Release, 09 September, 2010

Being a Dream Theater fan since 1993, and Mike Portnoy being among one of my biggest drumming influences and inspiration, I share the same sentiments with DT and MP fans.  I'm shocked, I'm sad, and I'm a little bit angry as well.  But I totally understand Mike, based on his press release & judging from his recent radio interview (read transcript here).

We know how busy the band is all these years, and each individual member having their respective side projects.  But no other DT member is more workaholic than Mike, who mentioned in his 2007 instructional DVD In Constant Motion...

"My job has gone way beyond the drumset.  In fact, when I'm playing drums, it's just a small fraction of what I do in the band.  I'm one of the co-songwriters and arrangers, I'm one of the lyricists in the band, I produce the CDs, I direct the DVDs, I design the merchandise, I design the artwork and the album layouts... writing the set lists live, overseeing the websites and the fan clubs... It's just a constant 24/7 job..."

And these are only with Dream Theater.  Don't forget the many other things Mike do on the side, such as project bands, tribute bands, drum clinics, and sessions with other musicians and groups.

I understand Mike's feelings on how his routine with DT has become, well, a routine.  It's indeed a cycle of songwriting, recording & touring over the years.  If I were Mike, all that would definitely burn me out, regardless of how I love or how passionate I am with my work.  Perhaps Mike wants to slow down a bit and enjoy some of the fruits of his labor.  Mike is human too, and the guy deserves a break.  Plus I totally understand the physical aspects of drumming, especially with the more athletic nature of playing heavy rock music plus the mental challenges of playing progressive music.  Drummers need a break too.  A drummer of Mike Portnoy's stature truly deserves it.

How I wish Mike was given consideration by his DT bandmates.  At least a year of time out won't hurt the superband.  But, 4 out of 5 DT members prefer to keep working, and they don't share the same sentiments as Mike.  And the latter was forced to do something unimaginable.  Now that the damage's been made, the world of Dream Theater and the drumming community are going nuts.

I firmly believe that great drummers are the foundation of great bands.  Though there are many great bands out there who had a number of drummers in its lifetime, it may never be the same without the one drummer who played a significant role and casted a huge imprint on his/her respective group.  The Who and Led Zeppelin were never the same again after Keith Moon and John Bonham passed away.  Toto survived with the great help of Simon Phillips, but arguably it wasn't the same old Toto when Jeff Porcaro passed away in 1992.  And imagine how life and music would be if Metallica no longer has Lars Ulrich.  Or if Motley Crue doesn't have Tommy Lee.  Or if Neil Peart never played again with Rush (thank God Neil returned after his sudden hiatus over a decade ago).

Dream Theater without Mike Portnoy.  It's simply unimaginable.

In the meantime, I'll just see what will happen.  DT will go on, make a new album in 2011, and tour.  While Mike may never run out of things to do and music to play drums on, the idea of him no longer associated with DT may never sink in on me.  Yet in my heart, there's a flicker of hope that one day, Mike and DT will be together again.

***

Many of my friends and peers know that I'm a Dream Theater fan, and Mike Portnoy is a major influence to my drumming.  I practically grew up listening to their music & learning Mike's double bass licks, odd-time grooves, & polyrhythms. And up to this day I still enjoy listening to their music, analyzing the songs and learning the bits and pieces of Mike's drum parts.  I'm an avid follower.

I first heard or read about Mike Portnoy back in 1993.  I was a high school sophomore when I got this August 1993 issue of Modern Drummer which featured Mike Portnoy for the first time.  One day, I was at a record bar in Robinsons Galleria (a mall which was near my school) when I first saw a cassette tape of Dream Theater's breakthrough album Images And Words.  Yes, it was a cassette tape, and that was the first DT album that I've ever bought.  I don't have that tape anymore, but I acquired the CD years later.

After listening to that album for the first time, I was sold.  I became a fan, and Mike Portnoy instantly became one of my drum gods.  I think I was one of the first guys in my school who influenced my peers to check out Dream Theater.  I've drawn some of my buddies to listen to their music, and they got hooked as well.  Now how's that for being a positive influence?

One of my bandmates back in high school, Jappy Columna, were among those friends of mine who first heard DT through me.  He got so hooked, he brought home a DT Images And Words - Live in Tokyo concert video from his US trip during one summer vacation.  He was also able to find DT's 1989 debut album, When Dream and Day Unite.  Plus, he got me a Live At The Marquee CD, which I still have up to this day.

From then on, every new DT album was anticipated, and it's always a celebration whenever I get to listen to new materials for the first time.  The 1994 album Awake is among the most well-recorded albums I've ever heard, which was odd because Mike didn't use a Tama kit in that recording (no disrespect to Mapex drums).  Then, the EP A Change of Seasons came out, with that 23-minute epic plus some live covers.  Then there's 1997's Falling Into Infinity, which was their record label's attempt of making DT commercialized.  Many of the songs there were quite radio-friendly and more conventional and shorter (as opposed to DT's standards), though I like the instrumental track Hell's Kitchen.  After that flop, or should I say slight detour, they went back to their true old mighty selves and released Metropolis Pt. 2: Scenes From A Memory, which became an instant progressive classic (and arguably the best DT album ever).

And off to the 21st century, more albums were created - Six Degrees of Inner Turbulence, Train Of Thought, Octavarium, Systematic Chaos, Black Clouds & Silver Linings, plus some live albums, compilations, and concert DVDs in between.  The more recent albums are more reflective of DT's heavy metal roots.  It's cool that they're still in touch with their "more is more" philosophy, and their music doesn't show signs of slowing down, which contradicts the infamous trend on progressive groups who tend to mellow as they age.  And of course, Mike Portnoy's drumming has been stellar all these years.  In fact, I think Mike's still getting better as he ages.

The big question among many fans is... Who will be filling in the Dream Theater drum throne?  We have yet to find out who that guy will be, and he's going to have huge shoes to fill plus anticipated comparisons and expectations of gargantuan proportions.  Sigh, I still can't imagine Dream Theater without Mike.  And hey Mike, despite how I'm feeling, I totally respect your decision.  Me & your legion of drumming fans here in the Philippines are still behind you.

Okay, who's filling in for Mike?

*The top photo is Mike's current Twitter photo.  The rest are from Drummerworld.com.

Steve Jordan Interview on Modern Drummer October 2010

I have learned so much from the interview on Steve Jordan in the latest issue of Modern Drummer (October 2010).  Here are some quotes which are worth reflecting on.


"When someone asks me to produce their record, I talk to them about what they want.  Your job as a producer is to make the artist happy, not to have the artist be a vehicle for you to make the record you want to make."

"None of my favorite recordings were done with a click, so the verse often feels one way and the chorus shifts gears.  To me, that's the real stuff.  If you're going to play with a click, you have to know how to manipulate your playing around the click."

"Swinging is not based on technique.  It's based on a feeling --- period.  I would take a drummer who has no technique any day of the week over a more efficient drummer, if he swings better."

"If you're going to play the drums, you have to be very confident."

"But I don't like the word swagger.  It may be appropriate, but it seems egotistical.  There's a difference between a destructive and a constructive ego.  If you go around thinking you're better than everybody, you'll crash and burn in a second.  But constructive ego is about understanding that you have to work hard to get to a certain point where you feel confident enough to execute."

"You're overthinking.  You get back to the soul of the music.  When you're thinking about stuff, you're not being a conduit for things to happen.  You can't over intellectualize something that's based on feelings."

"When you first start playing as a professional, you're searching for 'your sound' and all that.  But when you grow up, you realize it's about finding the sound for the song.  You don't want to force your sound on top."

"There are some people who are anti-rudiments.  But I'm glad I studied them, just for agility's sake.  I'm not the king of rudiments, by any means.  I am happy that I developed those skills so I could be versatile, but they shouldn't rule how you play."

"That's why people play so much stuff, because they can't play a steady beat.  But when you get into playing a steady groove and you can hypnotize somebody with that beat, that's the bomb.  And it takes confidence to know you can do that and not care what anybody says.  People might think you don't play fills because you can't, but you have to do away with all that.  They'll feel it when it's good."


Great work on the interview, MD.  And thank you Steve Jordan for the words of wisdom & inspiration.

Van Halen - Right Now

I want to share with you the music video of one of my favorite Van Halen songs.  I share the same sentiments with the guy who uploaded this video on YouTube.  I hope somebody from the Van Halen camp doesn't ask me to remove the embedded video from this site.  No doubt, this music video has become more relevant than ever, especially in today's trying & complicated times.  The song & the music video speaks for itself.

Right Now is from Van Halen's Grammy Award-winning 1991 album For Unlawful Carnal Knowledge.  Its music video won 3 awards in the 1992 MTV Video Music Awards, including the award for Best Video Of The Year.  As far as I'm concerned, this is one of the best music videos ever.

Van Halen is one of the greatest hard rock bands of all time.  I love their style of rock music, and I admire the musicality and creativity of the Van Halen brothers.  Eddie Van Halen is a monster on the guitar & keyboards.  His elder brother Alex Van Halen is one incredible rock drummer.  Plus he's got some swing underneath all that sheer power.  I love the feel, wit & gusto of Van Halen's music. 

Copyrights, 1992 Warner Bros. Music & Van Halen.

Aaron Spears: Caught Up / Sex Machine 2005

Here's a video of Usher and James Brown's Caught Up / Sex Machine performance at the 2005 Grammy Awards.  This was the breakout performance of drummer Aaron Spears which drove the whole drumming community nuts, like "Oh my god, who's that drummer?!"  Since then, Aaron Spears has become one of the leading drummers in the pop and R&B field.  Check out his tight groove and his unbelievably sick licks throughout the performance.  Then brace yourselves for the killer drum fill at the end, at the 4:20 mark.

Man, I still can't get over missing the Usher concert last week, plus the opportunity to meet Aaron Spears (as documented on my previous blog).  And I also missed the Benny Greb drum clinic (organized by local Meinl distributors Lyric) last Saturday (but I had to choose between that or my sister's birthday celebration with family; tough, but I chose the latter).

Usher in Manila: My Friends' Front Act Experience

My K24/7 bandmates Paolo Banaga and Ian Fajarito had the time of their lives last Friday night, opening for Usher here in Manila.  Paolo was called to do back-up vocals with South Border, while Ian played keyboards for Nina.

Here are a few photos from Paolo.  For more pics, check out his Facebook photos, here and here.

Aaron Spears' DW/Zildjian set-up.

Paolo checking out Aaron Spears' kit.

Soundcheck.  South Border + Nina.

  Two drumming phenoms meet. Aaron Spears & Benjie Mendez.

K24/7's Ian Fajarito with the man Aaron Spears.

 Ian with Usher's band.

Again, with Usher's band. Dylan & Jay Durias, Paolo & Ian.

"I can't explain how lucky we are and how proud I am being a Filipino... 'coz these cats (Usher's band) were jumpin' and screamin' at the side of the stage when we were playin'... and they were the ones who were shoutin' 'more!!!'  I'm gonna miss these fellas... They're very humble and blessed..."

--- Paolo Banaga, via Facebook


Pao and Ian arrived at our Off The Grill gig after the Usher concert, in time for our second set.  Later, South Border superdrummer Benjie "Bagets" Mendez and superbassist Marlowe Mata, plus birthday boy Duncan Ramos also arrived from the concert.

Pao and Bagets had plenty of stories to tell, for they just had the most awesome musical experience.  They were able to meet and hang out with Usher's world-class tour band.  Included in that band is current drumming superstar Aaron Spears, who became a major buzz in the drumming world after his "Caught Up / Sex Machine" 2005 Grammy Awards performance with Usher and James Brown.

The magic began during soundcheck.  South Border was burning during rehearsal.  They were playing so well, Usher's band went running towards the side of the stage to watch and listen.  You know that typical musician's behavior when we musicians shout, jump, or go nuts whenever we see or hear another fellow musician do something breathtaking and spectacular and feels oh-so-good?  Usher's band was blown away!  And this was just soundcheck.

Pao was so starstruck when he saw Aaron Spears, he ran to him to greet him, and Pao was like, "Wow, it's really you!  I only see you in YouTube!"  Aaron Spears is so super nice; him and the rest of the band are very friendly and very humble.  They were complimenting South Border, saying something like "It's great to see artists here who play TRUE music."

Bagets had the time of his life, hugging Aaron Spears when the two met.  Aaron said Bagets was awesome!  And Aaron was giving so much props to Bagets, complimenting his tone quality and asking him how he does it.  They also had a great time talking about drums and Stevie Wonder, among many things.  Even Aaron's drum tech approached Bagets to show his appreciation.  Even a musician of Bagets' stature can't believe everything that just happened; he was close to crying.

Nina and South Border's front act performance went very well.  Bagets' performance was stellar.  All that positive vibe was rubbed on to him, and he was absolutely in his element.

Later, when it was time for THE main act, it was my friends' turn to cheer.  Aaron was incredible that night.  Paolo and Bagets were screaming everytime Aaron did something spectacular on the drumkit.  Todo daw talaga!  Aaron also handed Pao and Bagets a pair each of his used Vic Firth signature drumsticks as remembrance.

Paolo said that when all these were happening, he's so proud to be a Filipino, and he's so proud to represent K24/7.  In those moments, race or nationality did not matter.  There was no discrimination.  Everybody's bonded through music.  There's so much love and mutual respect.  It was beautiful and inspiring, and oh how I wish I was there.

Man, I missed a golden opportunity.  A week ago, Pao & Ian asked permission regarding their big opening gig.  From there, I was thinking all week about having our regular Friday night gig cancelled so that the rest of my band and I can watch the concert, and perhaps have the chance to go backstage and meet the band.  And even if we're able to get good sessionists whenever my bandmates aren't available, it's quite hard to go through our gigs when one (or in this case, two) of my bandmates are not around.  I should have requested for a night off.  This should be one of my worst non-decisions. Geez, I still can't get over it...

It's always great to see Usher perform, but from the very start I was after his band.  And it's not everyday that I get a chance to meet a talented and world-class drummer like Aaron Spears.  When I was viewing Pao's concert photos & hearing their stories, I was close to crying.  As a consolation, Paolo gave me one of Aaron Spears' drumsticks.  I totally appreciate it, and it now holds a special place in my collection of musical memorabilia.

Paolo, Ian, the guys from South Border, Kris Lawrence, Vince Alaras, Dylan Durias & Nina are so privileged.  Like what Duncan told me that night, I'll get my chance someday.  Great job, mga kapatid!  I am so proud of Pao & Ian, as much as I feel so envious. :)

 "Incredible concert in Manila! Amazing audience!" - Usher, via Twitter (and yes, Paolo and the gang were that close to Usher).

"Thank you Manila!!!!! http://yfrog.com/j2lmeej" - Aaron Spears, via Twitter.

*All photos courtesy of Paolo Banaga.

Peart & Portnoy: Two Masters in One Photo

Just sharing.  The other day, Dream Theater drummer Mike Portnoy posted this on his Twitpic...

They are two of my greatest drumming inspirations.  On the left is Neil Peart, drummer of legendary rock group Rush.  On the right is Mike Portnoy.  Behind them is Peart's latest DW/Sabian touring kit.


"As I have 2 days off from the DT tour, I'm flying to Kansas City to catch Rush...(thx to the gracious Mr. Peart for the personal invite!)" - 2:12 AM Jul 1st

"Not only is Neil Peart an exceptional drummer and an inspirational human being, he is an incredibly gracious host!" - 1:48 PM Jul 2nd

"I am truly humbled to have developed a friendship with one of my childhood heroes..."  - 1:50 PM Jul 2nd

- Mike Portnoy, via Twitter


I consider this as a very rare photo, considering Peart's legendary privacy and Portnoy's ultra-busy schedule.  It's very rare to see these two progressive rock drumming icons together in one photo.  Long live the kings!

P.S. (July 6) - Mighty Mike posted this photo yesterday...

"OK OK...because so many of you inquiring minds wanna know...Neil did let me play his kit...and it was awesome! : )" - Mike Portnoy, 7/5/10

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.

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.