Below is my drum cover of Michael Jackson’s song Smooth Criminal. This is the first cover I have attempted using 3 cams, this is also the first cover I have issued using my new Tascam 1800 midi interface.
As with all the MJ covers I have done I had great fun playing this, all the drumming is my original work. Played the way I would have played the song given the chance.
It was recorded on the first take and the video and after effects completed by James Grice.
This was also the first cover I have mixed using Adobe Audition CS6.
Please have a listen and let me know what you think in the comments below.
If anyone would like the recorded drum tracks to play around with please let me know.
I’m finally back after an extended break due to a lot of personal things going on in my life. Which involved a lot of changes.
I am planning to get back to making drum covers as well as continuing to come up with new drumming ideas and writing more articles like this one which will include some reviews on new purchases I have made.
Please if anyone has any questions on anything I use or has any questions about drumming be it beginner or advanced please don’t be afraid to ask. If I don’t know the answer I will go away and learn it for you. Also with the same breath if you have any ideas for my future covers/ articles or my word press site please let me know.
Ok so this is a quick article to get me back into the swing of things, it has been a long time since I put pen to paper so to speak. To expand on the title if you haven’t guessed already is to let you know what I think every drummer should have with them for every gig, practice or audition they attend Read the rest of this entry
Beginner – Intermediate
Hello all. Sorry I’ve been away for a few weeks. Life’s been a bit hectic lately.
Today I thought id bring you another little exercise. This involves one of the best drum rudiments the Paradiddle. This is by far my favourite of the standard 26. There is so much you can do with it, plus it’s great for improving double stroke speed and overall co-ordination
The idea of these exercises is to show you how to move the Paradiddle around the kit and how to incorporate them into beats.
Exercise 1 is the standard paradiddle played on the snare only you can add in the bass drum on the first note of each set of semi-quavers if you like. I would spend around 10 mins a night practicing this until your happy with your speed. (It will improve your left had no end.) This is a regular feature in my practice sessions.
Exercise 2. This is the first Example of how to begin to move the paradiddle around the kit. I have now moved all the right hand notes onto the Floor Tom or Tom 3. But keeping the left hand on the snare. This gives a good contrast and can easily be used as a fill. Especially if you accent the left hand hits.
Exercise 3. This is basically how to start structuring beats out of paradiddles. The paradiddle is made up of the bass drum and the left hand on the snare. While the right hand keeps time on the hi-hat.
Remember it’s up to you to take this further. This is only a guide to get the creative juices flowing. Take it to your kit and get creative. There is no right or wrong when this kind of thing is concerned.
Food for thought.
- Try not using any drums at all. You have the hi-hat and ride to play with also.
- Try resting some notes. Its still a paradiddle even if you don’t play all the notes.
In this post I will be looking at lots of different aspect to do with Cymbals from playing them correctly to giving them the best possible chance of survival and set-up (but not placement)
Ill start with a little pick detailing the anatomy of a cymbal.
I will predominately be referencing Zildjian as that’s the make I use and know the most about. But there are plenty of others out there for you to try.
Cymbals are the most delicate part of the drum kit. They can be easily damaged if not cared for or played properly. Im going to attempted to show you the correct mounting of your cymbals and the correct way to strike them. With the main goal of extending the life of the cymbal. Ive been playing drums for over 20 years and never once broke a cymbal (touch wood) these things will last you a few decades if you treat them right and play them how they were designed to be played. As we all know cymbals can be very expensive. With the top ranges from each manufacturer fetching between £100-£350. So better not to crack one. Read the rest of this entry
This is a little challenge for all you budding drummers out there. I have recently challenged myself by learning some linier drum fill patterns. What is meant by linier I hear you say. Basically no two notes fall on the same count. So everything is played separately, and you can get some super crazy results from this. Below are two exercises that Ive put together for you. Please play close attention to the sticking as sometimes you will be using the left hand lead. The idea behind this is once it’s moved around the kit. You start to get some awesome patterns and combinations starting to form.
Exercise 1 is based around 16th notes. This is a simple pattern just to get you mind working.
Exercise 2 is all about 16th note triplets. With some awkward sticking and patterns, including a double stroke in the last bar. It might be a good idea to break it down and lean it bar by bar first.
The ideas behind these is to get you thinking outside the box and to give you an example of what you can do. Once you have it down on the snare and kick your next progression it to start moving the pattern around the kit. Believe me its a lot of fun You can place rests in there as well to increase the challenge..
Things you may need: Guitar Tuner
In this issue of tuning your Drums I will finally get around to looking at the last drum on most peoples kit. It is of course the ever elusive subject of Snare Drum Tuning. The snare is by far the hardest drum to tune. What makes it hard I hear you say? “Snare Buzz” I will hopefully try to give you some tips Ive picked up through my years of drumming to help you eliminate this Problem and I will attempt to do this without the use of any dampening. As I believe this to be cheating and if a good kit is tuned properly this shouldn’t be needed anyway for a live sound. But saying that obviously there are instances when recording that you might need some external dampening but I will be looking at this in my Drum Tuning Extras addition. Read the rest of this entry
Welcome to part 3. In this issue we will be looking at the toms. Finally we get down to fitting that first drum head.
(All pics are of my Drum Kit and me 🙂 courtesey of James Grice.)
But first a list of the topics covered in the last edition, and if you haven’t read it please take a look before reading this:
- Drum Preparation
- Drum Key Technique
I tend to start with the smallest tom as it’s the highest pitched and then work my way down to the floor tom or biggest rack tom.
Right then down to it. First things first check you haven’t got a dead drum head before you start. Grab the new head and tap it in the middle you should get a very dull but slight tone out of the new head, If you don’t and instead get a duff sound the head is dead and not worth using. (the chance of this is very, very small but still worth mentioning)
Now place the head over your drum it should go straight on without any struggle. (I normally line the logo up with the support arm, Just my preference. And I start with the batter head.) Then were going to place the hoop on over the top this is normally a tighter fit and can require a slight push to get it on properly.
Just a little recap on what I covered in the last article:
• Drum Anatomy
• Equipment needed
• Drum Head Selection.
In this part we will be looking at preparing your drums to be tuned, and drum key technique.
Once you have your new drum heads just re tuning your kit it’s a good idea to get the hoops and heads of and just start from scratch. There is a way of removing the heads so you don’t warp or damage the drum. This can occur when there is too much pressure placed on a particular side of the drum, which can pull and distort the wood out of place. Below is a diagram of the correct technique for releasing the pressure created by the tight drum head.
The idea is that you work in opposites around the drum using your drum key (pictured below) to slowly loosen the head at each point. (turning to the left)
Hello all, this will be the first issue in a multi-part blog about the ever-elusive subject of Drum Head Tuning.
I think there are two types of people that hit drums. The First been the person that plays drums, they are normally good at what they can do but lack the fundamental knowledge of differing techniques, and are missing a basic structural knowledge of music overall and a drummers relationship within a band. The other being a “Drummer”. This person not only has spent years honing different skill sets and abilities within his/her trade. But has also taken the time to understand music as a whole and how to play to compliment the piece of music being performed. Be it with different techniques like using brushes, or just being sensitive to the piece of music by not over playing or being too loud.
Ive never understood why some “drummers” shy away from this very important aspect of drumming. A nice sounding kit not only sounds great to people listening to you but you will find you will actually want to play and practice more. You will also find yourself being more creative around the kit. I find it has that affect on me anyway. Tuning is also a very good pass time. Hours just seem to fritter away. Read the rest of this entry
Right guys and girls. I’d like to start by stressing the importance of getting a good practice pad to use on a regular basis.
What is a practice pad?
What is a practice pad I hear you say! Well basically it’s a lump of rubber placed over wood designed to imitate the feel and response of a normal snare drum, but with out all the associated noise attached. They are usually small, light weight and easily transportable. Meaning we can practice anywhere and anytime we feel the need. One of the main problems with learning drums is the inability to do this due to noise level and the inconvenience of having a none easily transportable instrument.
There are both advantages and disadvantages to using a practice pad I will attempt to cover all these for you now. But I will add im a big pusher of the drum practice pad I think all drummers should own and use one. Not let it sit there as a coaster.
So the pro’s of using a Drum Pad is the obvious ability to sit down and practice your drum rudiments in front of the TV producing very little noise on something that will react like a real drum. This also brings us into the next advantage of easily been able to hear and play along to a metronome. Which incidentally is another must have piece of kit for a drummer. These days there is no excuse not to have one as most phones are now able to download free apps that contain these within them. This used in conjunction with a metronome allow us the ability to be able to track our progress and keep records of our improvements in that search for faster rolls and slicker drum licks. Record keeping should be done as a matter of course when having your practice sessions. Which incidentally should be set out to achieve a goal you have in mind, Be it faster double strokes or a more accurate flam. These things don’t happen over night and take ages to master.